The Keys for Deciphering 

t^ Greatest Work 

OF 

Sir Francis Bacon 

Baron of Verulam 
Viscount St. Alban 




Riverbank Laboratories 
Geneva, Illinois 



--^i 





Class 



•^ O -^ "v A /, 



Book 2^ 



Gopyriglit]!^?. 



CQEXBIGHT DEPOSIC 



The Keys for Deciphering 

The Greatest Work 



OF 



Sir Francis Bacon 

Baron of Verulam 
Viscount St. Alban 




Riverbank Laboratories 
Geneva, Illinois 



^^%^'<^ 
^^^ 



Copyright, 1916 
GEORGE FABYAN 



FEB -I (91? 

©CI.A455404 



PREFATORY NOTE 

After several years of a minute study of the general subject of Ciphers, 
especially such as appear in books published in the Elizabethan period, we 
have arrived at the following conclusions which are submitted with diffi- 
dence, but nevertheless with complete confidence: 

(1) That ciphers of all kinds were in general use in the fifteenth, sixteenth and 
seventeenth centuries among those who laid claim to any degree of education and culture. 

(2) That the Biliteral Cipher of Sir Francis Bacon as described in his De Augmentis 
Scietitiaruvi is present in certain works published in the Elizabethan period, and that its 
presence is susceptible of demonstration to anyone with a mind trained to scholarly in- 
vestigation, and with the ordinary powers of observation. 

(3) That the preference for the italic type as a vehicle for the Biliteral Cipher was 
induced by the fact that various forms of the same letter could be made embodying minute 
differences, with less probability of detection than in the case of the roman or any other 
form of letter. 

The work thus far accomplished has necessitated the careful study of 
the origin, history, and construction of letters and alphabets of different 
nations, and this has not only shown that "the two forms of letters in one 
character," or the so-called "doubles," were in existence and in common 
use at that period, but also has led to the belief that three forms of one 
character — all three forms so closely resembling each other as to be difficult 
to tell them apart — were in use for cipher purposes. 

It has been impressed on the minds of those engaged in the work that 
France was the center of learning in the development and use of ciphers. 
Thus the most important works on ciphers are in French, followed by 
those in English, Latin, Spanish, and perhaps Italian, in the order named. 
The study of ciphers shows the same gradual improvement in methods 
and use that is found in the development of any other science. It seems 
to have reached its zenith in the early part of the seventeenth century, 
from which time on it declined rapidly. 

We have every reason to believe that ciphers were used to record the 
learning of that period. Some of the best known and most important 
volumes were unquestionably resorted to for this purpose through con- 
nivance or otherwise. 

Most of the work so far accomplished by Riverbank Laboratories 
has been confined to the cipher described by Sir Francis Bacon in his 



Advancement of Learning and called by him the "Biliteral Cipher," and 
which has been tested and dissected until now its presence in certain works 
is demonstrable beyond any doubt. 

The statements, historical, literary, scientific, and linguistic, uncov- 
ered and extracted from the Biliteral Cipher have brought us face to face 
with questions far more important than is that of the Cipher itself. These 
have not been approached by Riverbank Laboratories because they natu- 
rally pertain to fields of study which should be approached in each case by 
specialists in the respective subjects. 

If the use of the Biliteral Cipher in certain volumes of the Eliza- 
bethan period be conceded — and in the light of our studies this conclusion 
is inescapable — the following questions yet remain unanswered: (1) How 
was the use of two forms of type controlled for the purpose of the Cipher, 
and what was the origin of these "doubles" or the "two forms in one 
character".'' (2) How much credibility is to be attached to the state- 
ments extracted from the deciphered material.? In other words, what 
bearing can these deciphered messages be conceded to have on history, 
literature, science, and language .>* 

These questions must be answered, if at all, by a wide variety of 
specialists in the several fields affected. They involve important questions 
concerning the designing and constructing of alphabets and type forms; 
the history of printing; English literature, especially of the Elizabethan 
period; the history of the Elizabethan and Jacobean periods; the broad 
field of physics. Furthermore, the ciphers lead the investigator to cita- 
tions and translations from the classical authors in the authentication of 
which the specialist in Greek and Latin alone can speak with authority. 

The fields of research thus opened up are of the widest possible extent. 
Our work of establishing the presence of the Cipher is but the first step 
in the approach toward large and important subjects. It is possible that 
much of the material educed by means of the Biliteral Cipher can never 
be authenticated. Much of it is susceptible of verification, however, by 
means of proper research. The studies involved are so vast and so num- 
erous that work on them should be co-ordinated by those best fitted to 
conduct them. With this conviction the co-operation of students is respect- 
fully invited by 

Riverbank Laboratories, 

Geneva, Illinois 



THE KEYS TO THE BILITERAL CIPHER 

For three hundred years the Bihteral Cipher devised by Sir Francis 
Bacon has securely locked away from human sight and access the import- 
ant messages addressed by their author to posterity. Though the pages 
of works printed in the sixteenth and seventeenth centuries have been 
read and studied for their subject-matter by students of literature, of 
history, of political science, of art, of philosophy, et id genus omne, no one, 
until comparatively recently, combining the mind of the student with the 
eye of the typographer, seems to have thought to go below the surface 
of these old productions of the printer's art, and extract from them the 
secrets that lay there, visible yet unseen, awaiting the advent of him 
"who, having eyes, sees." 

Devised and made use of by its author for the express purpose of 
avoiding detection during his own lifetime, it has in spite of its simplicity 
— indeed, because of this very quality — eluded the superficial eye of the 
many as well as the insight of the few who, possessing the germ of the 
idea, yet lacked the understanding necessary for its correct development. 

This is the more remarkable in view of the fact that the fullest pos- 
sible explanation of the Biliteral Cipher, as well as of the key itself and 
the manner in which it is to be applied, was given by Bacon himself in 
the Sixth Book of his Advancement of Learning (see James Spedding's 
edition of Bacon's Works, 1857, pp. 444 ff.). He there shows at con- 
siderable length how two type forms, closely resembling each other yet 
differing in minute details not easily detected, may be utilized for print- 
ing a book, a story, a poem, or the like, while conveying a wholly different 
message to those possessing the key — or, as he himself describes it, a 
method of expressing omnia per omnia. 

As its title implies, the present booklet serves to exhibit the keys 
by which the door to this new and unexplored storehouse may be opened. 
Laborious experiment and study have been resorted to in originating and 
developing the keys themselves, and in fitting them to the lock that has 
hitherto barred the way to a decipherment of what the Biliteral Cipher 
serves to conceal. By means of these keys — after all, merely the appara- 
tus which the inventor of the Cipher intended should be used — the dif- 



ferences between the two forms of type In the printed pages of the original 
works may be definitely and conclusively established, and, as has been 
done in the case of the First Folio (1623) of Shakespeare, the assignment 
of either form of the letters to their respective class may be accomplished 
with certainty. 

By means of the apparatus illustrated in these pages, examination of 
the letter-press may be assisted both by mental visualization, by ocular 
comparison, and by mechanical measurement and dissection of slants and 
curves. In other words, the physical equipment by means of which the 
Biliteral Cipher may be read is here presented. The mental equipment 
necessary — ^the study, the application, the development of the sense of 
observation — is no more than is demanded by the study of any science, 
and need not be commented on here. 

For an illustration of the Cipher code and its application, together 
with a description of the steps which led to a solution of the problem of 
decipherment, the reader is referred to a booklet entitled "The Greatest 
Work of Sir Francis Bacon," etc., by J. A. Powell, to be obtained on appli- 
cation to Riverbank Laboratories. The student is advised to study the latter 
carefully before going fully into the details of the following pages. An 
explanation of the Biliteral Cipher — what it consists of and how it is 
applied — is to be found there. An understanding of the facts there ex- 
plained is assumed for the purposes of this booklet. 

We proceed here to a description of the "Keys." 



THE ALPHABETS AND CLASSIFIERS 

THE ALPHABETS 

Facing each of the Classifiers enumerated and described below (pp. 
8 ff.) will be found what is designated as the "Alphabets" of each passage 
for which a Classifier has been constructed. These "Alphabets" reproduce 
the typical letters (see p. 9) of the a- and Z?-forms, as is done in the 
Classifiers, except that such letters are here placed alongside each other, 
the b-iorm. letter being marked by a slanting down-stroke beneath it. In 
addition, every occurrence of a digraph is shown, the elements of each 
digraph belonging to the i^-form being marked as above described. 

What is said below (p. 10) regarding numbered, dotted, and accented 
letters in the Classifiers applies also to the "Alphabets." A brief reference 
to and explanation of the several "Alphabets" follows. 

In type of the form in use at the present day Spedding has recast, 
so to speak, the more unusual type forms originally used by Bacon in 
illustrating his Biliteral Cipher (see p. 16). The advantage to the student 
of this illustration lies in the fact that even with no previous experience 
with type "faces," a very brief examination of the two forms will enable 
him to detect the difi^erence with unerring accuracy. This, therefore, 
serves not only as an illustration of the method, but also as an elementary 
first exercise in the more difficult work of distinguishing the type faces 
of the old originals. 

Preceding this will be found on p. 14 a reproduction made by Gilbert 
Wats in 1640 of the italic script used by Sir Francis Bacon in illustrating 
the Biliteral Cipher in his Advancement of Learning. This will be found 
especially valuable for study, since it enables the eye to grow accustomed 
to the peculiar dual forms of letters whose differences in some cases are 
detected only with difficulty and after close examination. 

Of the Alphabets of the "I. M." Poem (p. 18), of the "Digges" Poem 
(p. 20), of "A Catalogue" (p. 24), and of the "Principall Actors" (p. 26) 
nothing further need be said other than to point out in a general way 



the advantage of comparing the two forms of the letters, and of using 
these "Alphabets" to distinguish, by means of mental visualization, the 
characteristics of each form. 

In the case of the Alphabets for the "Prologue" (p. 22) it remains to 
point out that here will be found several examples of dotted letters, the 
purpose and peculiarities of which are explained below in the section 
entitled "The Classifiers" (p. 10). The use and purpose of such letters 
are pointed out by Bacon himself in the case of the capital 0, as can be 
noted by an examination of a "Biformed Alphabet" found in the Gilbert 
Wats edition (1640) of the Advancement of Learning, on p. 267. (See p. 14.) 

It should be added that the source of every letter depicted in the 
several Alphabets is given in the "Index of Typical Letters" (see p. 7S). 
That is to say, the Index will disclose the word in the original (located by 
page and line) from which each individual letter is taken. For an explana- 
tion which will assist the student in making use of the Index see p. 74. 

THE CLASSIFIERS 

By way of a general explanation, it may be said of the so-called 
"Classifiers," illustrated in this pamphlet, that they are designed as an 
aid to the student in "classifying" the two forms of type to be found in 
the passages whose analysis and decipherment are here depicted. 

When prepared for practical use, each Classifier is a separate sheet 
from which the dotted or shaded spaces are to be cut out. The blank 
space or slot thus formed is placed on the printed page of the original 
work to be examined (or on a photograph of such a page) in such a way 
as to expose one line of the original through the slot. The line of letters 
above the slot shows the typical ^-form of the letters; the line below the 
slot the typical b-iovm. of the letters. But little practice is needed to 
enable the student to compare any letter of the original with the corre- 
sponding letter of the a- and the ^-form on the Classifier, by exposing 
the original through the slot and bringing the corresponding letters on the 
Classifier directly above and below it. Such comparison makes it easy 
to determine whether a given letter in the original is of the a- or of the 
^-form. Classifiers exhibiting the two forms of every size of type used 
have been prepared: (1) on p. 15, for the original italic script faces used by 



Bacon in his Advancement of Learning to illustrate tiie Biliteral Cipher 
(taken from the edition printed by Gilbert Wats in 1640) ; (2) on p. 17, 
for the two present-day faces of italic, and used by James Spedding in 
his 1857 edition of the same work; (3) on p. 19, for the letters of the "I. M." 
Poem (1623 Folio); (4) on p. 21, for the letters of the "Digges" Poem 
(1623 Folio); (5) on p. 23, for the letters of the Prologue to Troylus and 
Cressida (1623 Folio); (6) on p. 25, for the letters of "A Catalogue" (1623 
Folio) ; (7) on p. 27, for the letters of the "Names of the Principall Actors" 
(1623 Folio). On p. 28 will be found for the "I. M." Poem a Classifier in 
which the letters are arranged vertically instead of horizontally, with the 
a-form letters on the left, the i^-form letters on the right. This form of 
Classifier is exhibited to show a difi^erent method of examination which may 
be pursued. While this type of Classifier possesses the advantage of per- 
mitting the eye to examine the <3-form, the undetermined form, and the 
^-form all on one horizontal line, and of thus conforming to the usual 
manner in which the eye travels in reading, it possesses the disadvantage 
that the base line upon which the undetermined letter stands is an 
unknown factor in the vertical Classifier, whereas in the horizontal type, 
one is enabled to align the a-form, the unassigned form, and the i^-form on 
horizontal parallel lines. The question of true and false base lines is of 
considerable importance in the determination of form, for a discussion of 
which reference is made to "Hints to the Decipherer of the Greatest Work 
of Sir Francis Bacon," (p. 13). "Typical letters," which these Classifiers 
represent, are those letters which show most clearly the characteristics of 
their respective forms, and are unaffected — as so many letters of the original 
are — by defective inking, irregular impression, damaged type, irregular drying 
of the paper, etc. They have been deliberately chosen for the very reason 
that, not showing these handicaps, they are better illustrations of their 
respective forms than are many of the others which have come under the 
influence of one or more of the conditions named above. Being typical 
of their class, they serve as a standard with which all others may be com- 
pared.^ It is desirable, however, that the true meaning of the term 
"typical" be understood. It is not intended by the use of the phrase to 

^The student will recognize at once that the methods of printing followed in the period under discussion 
contributed materially to the safety with which the Biliteral Cipher could be incorporated in a work and still 
escape detection — in other words, such methods account for certain of the difficulties now encountered in the 
process of decipherment. 



assert that the letter selected in any one case is the one and only one 
"typical" of its class, or that it is exclusively representative. "Typical 
letters," as here illustrated, are those that appear to the Riverbank investi- 
gators to exhibit the characteristics of the form in question in a satisfac- 
tory manner. There are many such in each case, and it has been a question 
of choosing one from among the number. To other observers some other 
letter will serve equally well. There is nothing magical about the selection 
of "typical letters." By whatever method the test for classification is 
made, however, the result will be a reliance by the student on "typical 
letters" for guidance, and the "typical letters" chosen for such purpose 
are likely to be the same as those illustrated here. A close parallelism can 
be seen to exist between the classification of Biliteral Cipher letters and the 
classification of plants or animals. Within the species will be found many 
variations, and typical specimens may be selected by various means; but 
the members of one species will not be confounded with the members of 
another closely related species by the trained student. In other words, 
variations in detail between the a-form letters are attributable to methods 
of casting, methods of printing, etc., yet the a-form letters all come from 
an original model — the "typical" form. 

As stated above, the (2-form letters are placed above the shaded part, or 
slot, of the Classifier, the /^-form letters below, except in the case of the 
digraphs, in which the Z'-forms are indicated by a stroke beneath. An 
"Index of Typical Letters" has been compiled, giving the exact position 
in the original source of every letter used in each Classifier (see pp. 74 fi.). 

When both a- and Z?-forms did not occur in the page or poem to which 
the Classifier applies, a letter of the desired form was taken from some 
other source and was given an accompanying number by means of which 
it can be located in the "Index" referred to. 

A large dot accompanying a letter indicates that a dot or an accent 
not naturally pertaining to the letter is present in the original. In its 
original position in the text, such a letter will be found to have been 
marked in the transcription as belonging to the opposite form, since the 
presence of a dot or an accent requires that an <2-form letter be marked 
as belonging to the ^-form, and vice-versa. Dotted or accented letters 
are used in the Classifier only when no other letter of the desired form was 
available in the page or poem to which the specific Classifier applies. 



10 



It must be borne in mind that, speaking generally, the Biliteral Cipher 
is found in the italic type only. Bacon's own illustration of the cipher 
is given in italic (script), and, so far, the roman type has not been found 
to consist of two uniformly differing forms in the same consistent manner 
as is the case with the italic. There are exceptions to this rule, however. 
On pages consisting preponderatingly of italic, such as those illustrated 
and dissected in this pamphlet, the roman characters are found to have 
been included with the italic as a vehicle for the cipher, and this is true 
of the titles as well as of the isolated words in roman found in the body 
of the italic. Accordingly, the Classifiers present the roman characters 
of such letters as occur in this form where they have been found to be 
included in the cipher scheme. It should be borne in mind, however, that 
the roman forms given have not been found to include the cipher except 
as mentioned above, and that, so far as examination has disclosed, they 
can be regarded as typical only for the passages mentioned. 

It may be well to call the attention of the student at this point to 
the fact that those characteristics determining the <2-form of a letter in 
one page or poem do not necessarily apply to the a-form in another page 
or poem. Proof of this was cunningly incorporated by Bacon himself 
in his example of a " Biformed Alphabet" of which a facsimile reproduc- 
tion is found in the 1640 edition of the Advancement of Learning (see p. 
14) in the case of the capital E, and it is therefore a situation to be expected 
in the practical application of the cipher. Thus the forms of the lower-case 
italic h, for example, in the "Digges" Poem are reversed as compared 
with their use in the "Prologue." The student is therefore cautioned to 
use the Classifier which has been made for the specific passage. 

Classifiers printed on cards and available for separate use may be 
obtained on application to Riverbank Laboratories. 

THE TECHNIQUE EMPLOYED 

The methods used in constructing the plates for the Alphabets and 
Classifiers were as exact as the most experienced photographers could 
attain, and this work may be duphcated at any time and place with the 
like care and skill. Rule, compass, level, and square were used through- 
out in the work. 

11 



As a basis for the work of preparing the several materials represented 
here, the pages containing the "I. M." and the "Digges" Poems, "A Cat- 
alogue," "The Prologue," and "The Names of the Principall Actors" 
were photographed from the original copy of the First Folio (1623) in 
the possession of the Newberry Library, Chicago, Illinois. The photo- 
graphs were made on 8x10 dry plates, reproducing the pages in sections 
enlarged 3}^ diameters. This method of direct enlargement of small 
sections (for example, the page "A Catalogue" required 14 separate 8x10 
plates) made it possible to procure uniformly sharp negatives, for it was 
found impossible to photograph an entire page from an antiquated book 
and obtain the whole in a uniformly sharp focus, owing to the curling 
and wrinkling of the time-worn pages. The negatives and photographs 
were made by a professional photographer, and the following statement 
regarding the work can be made without any qualifications whatever: No 
7iegative has been retouched or manipulated in any way. The photographs 
are exact reproductiojis in every detail., including dirt spots, imperfections, etc. 

In taking out each letter from these prints and mounting it for the 
Classifiers or the Alphabets, a set of draftsman's implements were used, 
extreme care being exercised to insure the utmost accuracy, so that every 
letter in a Classifier or in a set of Alphabets occupies exactly the same 
slant as well as the same position with reference to the other letters that 
it occupied in the original text. Millimeter cross-section paper was used 
for mounting in order to insure perfect alignment. It is unnecessary 
here to enter into the manifold minor details observed and the painstaking 
care exercised throughout in the construction of the plates. 

When the mounting of the several letters had been completed, the 
whole was photographed, this time reducing it 3^ diameters, thus bring- 
ing the letters back to the exact size of the original. From these facsimile 
photographs half-tone plates were made from which the Classifiers and 
Alphabets here shown were reproduced. In the half-tone plates all lines, 
dirt spots and marks not pertaining to the letters themselves were efi^aced, 
but in no case has any letter been altered in the slightest particular in 
respect to its shape or its outline, and to any student desiring to satisfy 
himself on this point sets of the original photographs will be cheerfully 
furnished on request. 

12 



In the Classifiers a border of the cross-section paper upon which the 
letters were mounted has been retained around each group of alphabets. 
By this method an excellent set of hair-lines results. This is of material 
assistance in the detailed examination of the letters, permitting exact 
vertical or longitudinal bisection, determination of slant, etc., by means 
of the "Alphabet Templets," instruments described on pp. 29 fif. 



ccititns scmyacioomni^-JmJiitpsznm^ 
m^msafisftcio , zJ2n^estemitim^ni=: 
ittc/ofuorum crja. mz mcrifonm.v^umh 
am ill, mslf^darc, cUmcncn cm^mes- 

j2/mtcmni: Jitmumm ^Km^^aU^ 
4i6tmdeni cramotesyprattos^cmtL iiimcz 

menu caminiiia% nonmiamt^ sedim- 
xTmUiacomp-mut, fe. 

From Gilbert Wats' edition ok Bacon's Works, 164(1 



Jn Eicmfie of a 'Bl-fomed /ilphahet. 





MM. 



ra* p* <i,p»a;b*a*p,d.,p.£i,ktt.p* d.kcL. 
rc^ /. <^. /. <^ , p » a^.i. a,p,ith. a.p. (Up» 



From Gilbert Wats' Edition of Bacon's Works, 1640 
14 




,*t, \ ., 



^i 



: f^'-i,. 






^V 




H 

:: 1" i 



iii'^.X'. 









,^^ti 



^%*s..< 





A. 



, -it 



E 

u 

o 



o 



Example of an Alphabet in two forms 



a 


b 


a 


b 


a 


b 


a 


b 


a 


b 


a 


b 


A 


A 


a 


a 


B 


B 


b 


b 


C 


C 


c 


e 


D 


D 


d 


d 


E 


E 


e 


e 


F 


F 


f 


f 


G 


G 


9 


,? 


H 


H 


h 


h 


I 


J 


i 


i 


K 


K 


k 


k 


L 


L 


I 


I 


M 


M 


m 


m 


N 


N 


n 


n 








o 





P 


P 


P 


p 


Q 


CL 


9 


^ 


R 


R 


r 


r 


S 


S 


s 


s 


T 


T 


t 


t 


U 


U 


u 


u 


V 


V 






W 


W 


w 


w 


X 

z 


X 
Z 


X 

z 


X 

z 


Y 


r 


y 


y 



In all duty or rather piety towards you J satisfy every body except 
myself. Myself I never satisfy. For so great are the services which 
you have rendered me, that seeing you did not rest in your endeavours 
on my behalf till the thing was done, I feel as if life had lost all its 
sweetness, because I cannot do as much in this cause of yours. The 
cccasions are these : Ammonius the King's ambassador openly besieges 
us with money : the business is carried on through the same creditors 
who zvere employed in it when you were here, ^c. 

Spedding's modernized illustration of Bacon's example of the use of a biformed alphabet 



THE BI-FORMED ALPHABET CLASSIFIER 

Spedding's Edition of Bacon's Works, 1857 




„ F G // I 

D E F G H -^ 



R S T U IV X 



H I K L M N O P Q R S T U IV X Y Z 

H y X L M N O P Q^ R S T U j^ x f Z 



abcdefgh i k I m ?> o 

bcdefzhikTmnop q r s t u v w x y z 



q r s t 71 V w X y 






COPYRIGHTED, 1916, GEORGE FABYAN 



a forms above the shaded parts, 6 forms below 

CUT OUT SHADED PART WITH SHARP KNIFE 



(( 



i.m:poem 



37 18 IS 38 



M/ TT fe| f hh ii ^i oo Ir it 

7 / / / ^' /" / / / 

E S| aa ee fah ii kli pp rr fT It i 

/ / / / / / / '/'/// 

19 4 <5 Vt ao € 

%S5 WW Ad ee hh k, prr JJ 

/ / /// // 

R 21 ao 15 IS IT .34 a . " ■-■ ; 

^J CC EE FF GGMM ff ^^ SS TT WW 

/ / / /'/ / /'// /. / 

13 .... »6 

aa hh a dd y ff g^ hhii II mm nn 

'/ / / / 7 / / / / / / / 



11 



00 



^^ rr ssfftt uu ipTt> yy 

/ ////// / / 

Si. 31 16 35 36 a 

BBBB msisis fljijlft 
// // // // // // 

— THE ALPHABETS.— 






The a forms are unmarked; the b forms are indicated by a stroke beneath the letter. 

A number accompanying a letter indicates that it was taken from some other source, for comparison. This 
number refers to the Index of Typical Letters, in which the exact source of the letter may be found. (See 
pp. 74flF.) 

A large dot accompanying a letter indicates that it is a "dotted letter" or an "accented letter," an explan- 
ation of which will be found in the Index aforementioned. 

Copyrighted, 1916. George Fabyan 
18 



THE BI-FORMED ALPHABET CLASSIFIER 
The "I. M." Poem, Original 1623 Folio 



g-jrTl>'lr»4-ai-|'»»tr!ati t ' .rAr h l J T.f — =«Sd 



ci Ei is 






B.B is IS ft ft 



a if cd e J" j^ hi I fit n o /> r f s t u w y 



^ y c d _e { g h i I m n o p J f ^'. ^ ^' 1^ y 



Ji M M n 



A QE F GMf !Z? S TW 



J C E F GMT ^'S T W 



10 • 







,^J[ h i mo r t^ 
e li i iii o r t 

B 37 18 I 3 sa 



i--ia:.i i aii 



vv 



^f^c^ 



a forms above the shaded parts, 6 forms below; in the digraph, a stroke indicates the b form 

COPYRIGHTED, 1916. GEORGE FABYAN CUT OUT SHADED PART WITH SHARP KNIFE 

19 



L.DICCES'POEM. 

EEHIMMORTT 

/ / / 

I J. 3 4^ ,5 »T 19 

A aa cc cid ee f Hh li oo rr ftt u ftM 

//// ////// / 

D L SS VV gg if 

/ / / / 

H I N R SS 



A EE H K P R S 

/ / / / 




10 11 1& 13 



I* 



15 16 



aa dd ee f hh ii kk 11 m nn oo pp rr £(^ ss tt uu 

//////// //////// 



ir 18 



Id 



^^ ^!S FF HH I J LL MM 

/ / / / / / / 



XO 11 ZZ 



N2N[ 00 (P^ 56^ TT vV WW 

aa hb cc dd ee ff go^ hh ii kk II mm 

////// ////// 

nn 00 pp rr ss ff tt uunjy w^}^ xx yy 

}^fi m^tsis iiniiii ihpjhih ffjf MM 

^ // // // // // // // / // // // 

— THE ALPHABETS. — ■ 



v<^ 



■:^>' 



>'■' 



The a forms are unmarked; the b forms are indicated by a stroke beneath the letter. 

A number accompanying a letter indicates that it was taken from some other source, for comparison. This 
number refers to the Index of Typical Letters, in which the exact source of the letter may be found. (See 
pp. 74 ff.) 

A large dot accompanying a letter indicates that it is a "dotted letter" or an "accented letter," an explan- 
ation of which will be found in the Index aforementioned. 

Copyrighted, 1916, George Fabyan 
20 



THE BI-FORMED ALPHABET CLASSIFIER 

The "L. Digges" Poem, Original 1623 Folio 



l,4Bi! 



" — -«l 



ahcdef^hi k I m n o p r s f t ^ '^ ^ J^ J 




m- 



c d ,e f g h i k I m n o p r s_., f t u ^ ^ x y 



J 




j¥F H J L MN T S T V W 

17 1« J 1» a« ^ 21 22 • 




a d e hiklmnoprfs 
adefhiki no,prfs te 



II ■;■ t2 






A a c d c f hi Q r f t Mj 



acde hior tuft 





i#}-n=. 



svv ^ 



rrnTTT:B3riittararKPE3iBKaT3:iJrirrigiii^^ r t-tH 






a forms above the shaded parts, b forms below; in the digraph, a stroke indicates the b form 

COPYRIGHTED, 1916, GEORGE FABYAN CUT OUT SHADED PART WITH SHARP KNIFE 

31 



"THE PROLOGUE." 

AA B'B CC vh EE FFGG EH I J LL 

////////// 

KlSi 00 <Pf Q_Q^ 1{^ SS TT WW 

/ / / / / / / / 



aa hb cc ctd ee ff gg hh it kk II mm nn 

//////////// / 

00 pf rr ff SS tt uu <vy wIp xxjry ;^ 

/////// / //// 



as ElHBEi fififi isisisu fhfhpjh 

// // // // // // // 



/ // // / // 



A C D H M P TT 



aa b dd ee hh ii II m nn oo rr ss ct uu 

■/ ///// ////// 

I PTee glihloorru 

/ / / / 

EXAMPLES OF LETTERS CHANGED BY DOTS. 
aaeeUnopHyAt 



— THE ALPHABETS.— 



The a forms are unmarked; the b forms are indicated by a stroke beneath the letter. 

A number accompanying a letter indicates that it was taken from some other source, for comparison. This 
number refers to the Index of Typical Letters, in which the exact source of the letter may be found. (See 
pp. 74 ff.) 

A large dot accompanying a letter indicates that it is a "dotted letter" or an "accented letter," an explan- 
ation of which will be found in the Index aforementioned. 

Copyrighted, 1916, George Fab>an 



THE BI FORMED ALPHABET CLASSIFIER 
The Prologue to "Troylus and Gressida," Original 1623 Folio 





.4 










> 


A 


•B C'i^ B F GU 


I 


LNO <P 


QJi 


s T ir- 




^P^8%1^SW 




j'"sS(ff "^^ 


^^S 


^WW^I 


A 'B C V E F C H 


J 


LK 


T 


Q^%. 


5 TW 




.1 1 1 bi.i-astessB^iis. «Su VI \ '\ 1 JiJsfei.il-1- 


i I t-J-s_iiiijM»iai 1 ) 





b c d e f g h i k I tn n o p r f s t u <v w \ y 



'abcdefgh i k I 7n n o f y f s t u y T)? x y :^ 



^ cl a ft fi PS 14 jhp Jl Jp IP ft ft P^ 













mMM^^mm^, 



d e h i I 



n o r s t u 




oru 






-"fi^4M^'^^fel<ekM;S 



.^;:I^M^^4«^^^^a«J 



Te h or 




Ti 



"WTlJffEuT 



d 



i J 



.*^.f 



a forms above the shaded parts, b forms below; in the digraphs, a stroke indicates the b form 

COPYRIGHTED, 1916, GEORGE FABYAN CUT OUT SHADED PART WITH SHARP KNIFE 

23 



"A CATALOCVE 

AACEG 



f f 



/ / 



LOTV 




lA ZS 



CHT 

aa dd ee f hh li 11 mm nn oo rr ss 1 ct u ft 
A C D EE G H I M oo FvR SS T V 

/ / / / / 

e T at « -9 IT »• 

a cc Hd ee s;2;hh ii II mm nn oo ss tt u 

AA m cc T)V BE FF CG HH 7/ i^ 

//"//// /// / 

LL .\7Af N2Y, 00 7-^4 ^S ^T' t^^^ WIV t^ 

/ / /■/'//// / 

aa hb cc dd ee ff ^^ hh it kk II mm 

////// ////// 

nn 00 pp rr ss // tt uu iv'o xx yy 
/ / / / /i^/ / / / / / 

/ ////// / // 

— THE ALPHABET5- 



^-^^K 



The a forms are unmarked; the b forms are indicated by a stroke beneath the letter. 

A number accompanying a letter indicates that it was taken from some other source, for comparison. This 
number refers to the Index of Typical Letters, in which the exact source of the letter may be found. (See 
pp. 74 f!.) 

A large dot accompanying a letter indicates that it is a "dotted letter" or an "accented letter," an explan- 
ation of which will be found in the Index aforementioned. 

Copyrighted, 1916, George Fabyan 

24 



THE BI-FORMED ALPHABET CLASSIFIER 
"A Catalogue," Original 1623 Folio 



T — i I ■ I ' — , . - ~ 



^, ft Jf ^ 




ft fins m 'U 



A b CD E F G E I IjLMN Tj S TV ^r o 



^^^^wi^^ii^^ ^^«s»m»rf^'Bg:: " 









^ h c d ■ e f 




h i k 1 m 


noprfsttfipxyl 


"a h c d e f 

19 




h i k I m 


n p.r f s t u li^ X y 



C H Ti I a 







ACE 



_ i--iM Mjn»M »ifc 





c d e g h i 1 m n o s t 



1 .=irFifirtpt^is* 



A DEGHIMORSTV 



It 



'\'4^%l-?SS.'' x i?-'. 



r^J 



C E 



OR ST 



"-- T"13--=!s!5,«aig«sr, 



:-/ 



a forms above the shaded parts, b forms below; in the digraph, a stroke indicates the b form 

COPYRICHTED, itj, 6, GEORGE FABYAN CUT OUT SHADED PART WITH SHARP KNIFE 



35 



kk 



PR I NCI PALL actors: 

S T WW 

aaecf hhiikklmooprrsf 

/ / / / / / X / 

ACHaft 



/ / 




II 11 NPT 



!,a cc dd eef g hh ii mmnn oo p rr ss ti 

F a cc dd ee f gg hh ii II T 

/ / / / / / / 

nn 00 rr f ss tt a y fi ft II 

i/f SS (T c F g ffly fl K.L 

/ / / / / 

^^ hh cc dd ee gg hh ii kj^ ll mm nn oo pp rr s 

///// ///// / //// 

J]~tt uu '^ X jj asns / llllllll /I? Ifftjlfi 

J A GG Jl LL Nil^ 00 Tl%_ 
/ / / / / / / 

— THE ALPHABETS. — 






The a forms are unmarked; the b forms are indicated by a stroke beneath the letter. 

A number accompanying a letter indicates that it was taken from some other source, for comparison. This 
number refers to the Index of Typical Letters, in which the exact source of the letter may be found. (See 
pp. 74flF.) 

A large dot accompanying a letter indicates that it is a "dotted letter" or an "accented letter," an explan- 
ation of which will be found in the Index aforementioned. 

Copyrighted, igi6, George Fabyan 

26 



THE BI-FORMED ALPHABET CLASSIFIER 

"The Names of the Principall Actors," Original 1623 FoHo 




T^g^l^lfed^'^ ^^ ^ -' f t^^^'E ^-fa-te 



Hf L OT%.STVir 









I a he d e g h i { I m n o p r s f t w^ y 
a h'C d e gh i\ I mn o p r J t u xj 



1 I ^i J in jt-fci J 1 ' 1 Til 
~^ T" rr i~5T «D 1 1 I 




^»^ li^^S-" "T" — I 






j?fcaaBey* 



12 2 

a c d e. f h i I mno p r s t 






a c d e s: h i Imai d r s t i | ^ ? f ^ ^^ ^ ^ 



ry ^^^^.^ 



^^■^-^'"'b^^^^^i^^^^p^^^e-i^'E^ 






3 

Pacdefghi In, or'fstuyfift 




17 



STW 



u c 



.J^ 



"^^V-f 



a forms above the shaded parts, b forms below; in the digraphs, a stroke indicates the 6 for 

COPYRIGHTED, 1916, GEORGE FABYAN 



CUT OUT SHADED PART WITH SHARP KNIFE 



THE BI-FORMED ALPHABET CLASSIFIER 
The "I. M." Poem, Original 1623 Folio 




a forms at right of shaded parts, b forms at left; in the digraphs, a stroke indicates the b form 

COPYRIGHTED, 1916, GEORGE FABYAN CUT OUT SHADED PART WITH SHARP KNIFE 

28 



THE TEMPLETS 

The "Alphabet Templets," which are to be used in conjunction with 
the "Alphabet Classifiers," are devices which can be made of material 
assistance in the detailed and minute examination of letters for the pur- 
pose of determining the doubtful points of form and of assigning the letters 
to the proper class. The descriptions which follow are not presented 
with the purpose of indicating the specific uses and tests for which they 
are adapted, for their construction permits of their application to a large 
number of tests, such as may be devised or found to be satisfactory by the 
individual investigator. The instrument is susceptible of various methods 
of use, and its mechanical demonstration is attained by one method in the 
hands of one individual and by another method in the hands of another. 

The simple form of the Templet consists of a rectangular piece of 
transparent celluloid 10"x 5", on which are ruled sets of parallel lines at 

right angles to each other, and at grad- 
uated distances apart, designed to afi^ord 
considerable latitude in the width of the 
spaces included between any two parallel 
lines. These lines will enable the student 
to bisect any given letter both horizon- 
tally and vertically, and will also show 
the direction and amount of curvature 
of any part of a letter more clearly than 
is apparent to the unaided eye. As an 
example of such a test examine Fig. 1. 
The vertical line, which represents one 
of the lines on the Templet, when placed 
so as to conform to one of the cross- 
section paper lines on the Classifier, 
shows very clearly that the undeter- 
mined c agrees closely with the Z'-form c 
as regards curvature of the back. 

The simple form of the Templet lends 
itself readily to a variety of such tests and comparisons, which will sug- 
gest themselves to the ingenuity or resourcefulness of the student. (See 
Fig. 2, p. 30.) 




Figure 1. 



29 







= 


= 


= 
















i 

1 


















































































. 










1 






















1 


















i 
















1 


1 










1 




1 


























1 


- 




























1 








. 












































- 


























i 










1 




















! 


i 










i . : 










tl 

( 












1 








'1 


i 








i 










... 
1 






i 


















i 






















1 

; 
































1. 




























"ii 


1 






















1 














1 




1 : 1 1 








! 


i 


i 














i 




■ 






















1 












f'-±-' 


— ^ 




E 


— ^— 






1 \ \ ' 

' 1 :^ 






- - 







E 



^ I 



30 



The more intricate form of the Templet consists of two pieces of 
celluloid, a large rectangular basal piece, 10"x 6", and a revolving wheel 
mounted on the left-hand section (printed in black over the red basal 
piece). The latter is divided into two squares, designated in the accom- 
panying Fig. 3 as ^ and B, the sides of which are 100 mm. in length. 
The square on the right. A, consists of two sets of parallel lines at right 
angles to each other which are to be used in exactly the same manner as 
are the parallel lines on the simple form of the Templet. 

The left-hand section of the basal piece, square B, is surmounted by 
the wheel. B is divided into four smaller squares, of which the graduated 
quadrant, C, made by the lines DE and FG intersecting at H, is by far 
the most important, for by its proper use in conjunction with the wheel, 
the slant of a letter or a portion of a letter may be ascertained mechan- 
ically. On the wheel there is a set of fifty lines, so designed that as the 
wheel is revolved, each line passing through H will subtend on C a definite 
angle, beginning with one of 10 degrees and increasing regularly to one 
of 60 degrees. The determination of slant will then resolve itself into 
a search for the one line which will meet the requirements of a given test. 
Suppose it is desired to determine the slant of a lower-case italic h. If 
it is agreed that the slant of the h is deter- 
mined by the angle made by a line passing 
through the vertical axis of the stem of the 
letter, with the perpendicular erected on the 
line upon which the given letter stands, then 
the Templet should be applied so that the 
letter occupies the position indicated in 
Fig. 4. Line FG should coincide with the 
base line of the letter under examination. 
Then revolve the wheel until a line on it 
will pass through the point H and Vvill at 
the same time pass through the vertical axis 
of the stem. Read on C the angle which 
this line subtends, and this will give in de- 
grees the- slant of the letter with reference figure 4. 
to the perpendicular. If it is then desired to determine the angle which 
the loop, or right hand part of the letter makes wiih the stem, without 




moving the Templet revolve the wheel until a line is found which 
will "bisect the loop," that is, will pass through the major axis of the 
oval formed by the loop, and will thus divide the oval space into two 
equal parts. Read the scale again. The difference between the two readings 
will give the, angle which the loop makes with the stem of the letter, a 
point of considerable importance in studying letters. 

In the lower left-hand corner of square B another quadrant, /, has 
been divided off into sectors of 5 degrees, by lines radiating from the 
center of B. These lines are useful in studying such letters as the lower- 
case italic e. The following test has been found to be satisfactory. With 
a light pencil line produce the end of the basal upstroke of the e in the 
direction in which it seems to be tending. Then apply the Templet so 
that one of the lines of/ "bisects the loop" of the letter, that is, as above, 
will pass through the major axis of the oval formed by the loop, and will 
thus divide the oval space into two equal parts. See Fig. 5, in which 
four ^'s from the "Prologue" are thus tested. If the pencil line, and the 
line thus found on / intersect, either above or below, the letter may safely 

be classed as an a-form. If how- 
ever these two lines are parallel, 
then the letter may safely be 
classed as Z?-form. 

The two remaining portions of 
the square B, the series of concen- 
tric circles, and the sets of squares 
within squares, are designed to aid 
in the dissection of large letters into 
their constituent units. These are 
best adapted to use by lettering 

experts .and typographers who understand the principles upon which the 

construction of alphabets is based. 

It is believed that the results obtained by these mechanical means 
are so nearly accurate as to exclude all chances of error which might result 
from the use of the naked eye alone. Mere opinion is eliminated by this 
process. The results being mechanical, the conclusions to which they 
lead are inescapable. 




Figure 5. 

First and third ^'s are a-forms; second and 

fourth are ^-forms. 



33 



MISCELLANEOUS TOOLS 

The remaining illustration (Fig. 6) depicts, among other things, the im- 
plements used in preparing the Classifiers and the Alphabets. They are the 
ordinary draftsman's instruments: a T-square, a drawing-board, trans- 
parent triangles, a divider, a compass, and a rule. They are of little 
importance to the student, except in case he desires to perform for himself 
any of the work already done. They are illustrated merely as serving 
to complete an enumeration of the "tools" with which the material pre- 
sented here has been prepared. 

The magnifying or reading glass is, however, of extreme importance 
in the hands of any student, and the possession — and use — of such a glass 
as the one illustrated will be found indispensable to a satisfactory exam- 
ination of the characteristics of letters. It should preferably be oblong in 
shape, so as to minimize the diffraction and possible distortion of letters not 
in true focus, and is an invaluable tool for the student, especially in the 
early stages of examination. By means of it, doubt regarding the char- 
acteristics of a letter may generally be dissolved, and through its use the 
presence of characteristics determining the class or form to which the 
letter belongs may be detected, even though these are not immediately 
apparent to the naked eye. 

Of equal value is the micrometer which will frequently serve to prove 
two letters of apparently the same general appearance to differ materi- 
ally in the proportion of their parts, the width of a curve, the length of a 
loop, etc. 

Included in the illustration is a Bausch & Lomb lantern, which has 
been used to great advantage in throwing magnifications of the printed 
page, or of individual letters, on the screen. This is done by means of 
lantern slides, made from the original page, or of individual letters of the 
original, and an ingenious device makes it possible to use a photograph 
for this purpose where no slide is available. The great advantage accru- 
ing from the use of a lantern lies in the fact that the letters are thrown 
on the screen in greatly magnified form, with their respective charac- 
teristics intensified. The presence, as well as the nature, of distinguish- 
ing characteristics of the letters is often made clear by such an examination. 

3» 




Figure 6. 

Some of the Implements Used in Preparing the Keys 

3) 



The lantern is also, of course, indispensable as a means of explaining 
to an audience of several persons, or, say, to a class of students, the details 
of the Biliteral Cipher, as well as of pointing out the characteristics of the 
individual letters. 

The student will understand that enumeration and illustration of 
some of these minor instruments has been made more for the purpose of 
making clear the methods used in preparing the "Keys" than for empha- 
sizing their importance in the hands of every investigator. As the student 
progresses in his work, he will learn to appreciate the relative serviceability 
of each. Every method as well as every device resorted to by the investi- 
gators at Riverbank Laboratories is mentioned and described here, but it 
is not intended by this to do more than illustrate the thoroughness with 
which the work has, it is believed, been conducted, and to suggest that to 
a "nimble mind" it will in each case be a question of adaptability as 
experience grows. 



36 



DESCRIPTION OF TYPICAL LETTERS IN 
THE "I. M. POEM" 

For some students of the Biliteral Cipher a written description of the 
characteristics of each typical letter, accompanied by enlarged illustration 
of such letter, has proved of great assistance. As in the study of a foreign 
language a dictionary is serviceable, to permit of frequent reference and 
refreshing of the memory, so in this case the written descriptions are often 
of great service, permitting, as they do, of instantly turning to the typical 
illustration of the letter under scrutiny and finding some of the principal 
distinguishing characteristics of each form described and contrasted. Such 
a course has been followed in the case of every work or passage so far 
studied and deciphered at Riverbank Laboratories. 

For the purposes of illustrating the nature of this work, and of demon- 
strating its serviceability, the letters of the "I. M." Poem have been illus- 
trated and described here (pp. 37 ff.), the upper illustration and description 
being in each case that of the <3-form, with the Z'-form beneath it. 

It will be evident that one occurrence only of a letter in all the sources 
illustrated by the "Keys" would render impossible the assignment of that 
letter to either form on the basis of its characteristics, there being no other 
form or occurrence of the same letter with which to compare or contrast 
it. The decipherer has no option but to assign it as the context may require. 
This has been done with the letters illustrated below where their occurrence 
is limited to the conditions described. The exact source and position of 
the letters illustrated and described may be ascertained by reference to 
the "Index of Typical Letters" (pp. 74fif.). 

Each illustration has been enlarged 3}^ diameters. The letters have 
been so mounted on cross-section paper that the same vertical line will 
bisect each pair, and horizontal lines on the cross-section paper corresponding 
in position will be found to bisect each pair. The fine lines have been chosen 
for this purpose as tending to reduce to a minimum the chances of variation. 
Each size of letters, roman and italic, appearing in the poem is thus exhibited, 
forming a complete "dictionary" of every class and variety of letter used 
by the printer in the passage. What is said of the Classifiers is true here: 

37 



letters not occurring in the "I. M." Poem are taken from other sources 
which are given in the descriptions. The student is cautioned not to rely 
slavishly on these descriptions, however, since experience has demonstrated 
that an attempt to describe characteristics in writing does not always 
convey a uniform impression to the mind of different readers. The force 
of this advice will be realized by the student when he attempts to formulate 
the description of each letter in his own words. The student is cautioned 
to examine the descriptions in the light of what is said of "typical letters" 
on pp. 9 ff. It is a highly difficult task to put into words a description of 
type which is to convey the same meaning to every mind. Such has not 
been the intention here. The descriptions given serve to illustrate a method. 
If each student will prepare his own descriptions, as the letters appear to him, 
after studying and examining them, the illustrations here given of the 
method recommended will have served all the purpose intended. Instinct- 
ive recognition of a letter is to be aimed at, rather than a reliance of any 
description whatever. Mental visualization and a resort to mechanical 
dissection, in the manner described in the foregoing pages are recom- 
mended as a basic practice, with occasional resort to the descriptions as 
an assistance in reaching conclusions. No one method of study is to be 
followed to the exclusion of the others. If each of the "Keys" illustrated 
and described in this booklet is availed of, as occasion may recommend, it 
is believed that thoroughly convincing results will be reached. 



ILLUSTRATED DESCRIPTION OF THE TYPICAL LETTERS 

IN THE "I. M." POEM 

ITALIC (Case 1) 

fl-form 
Ellipse frequently has a shoulder — that is, a 
squareness in the upper part of the loop; the 
curve at bottom broader and rounder than in 
the ^-form and joint lower on stem. 



^-form 
The curve on the left outside oval as it 
approaches the base is less rounded than in 
the fl-form, and the point of junction with the 
stem is higher than in the a-form. 




<2-form 
Ellipse slightly narrower at top than at base. 
The angle formed by a line that will pass 
through the vertical axis of the stem with one 
that will "bisect the loop"^ is less than the 
corresponding angle in the Worm. 



^-form 
Ellipse of even width at top and base. The 
angle described above is greater in this case 
than in the a-form. 



1 "Bisect the loop," i. e., will pass through the major axis of the 
completed oval, and will thus divide it into two equal parts. For 
a method of determining the angle, see p. 32. 

39 




ITALIC (Case 1) — continued 




a-iorm. 
Curve of the back commences near top. 



^j Ml 




^-form 
The impression created is that of greater flat- 
ness in the back than in the <3-form. Taken 
from"L. Digges" Poem. 




(2-form 
Stem sometimes turns slightly to the left at 
the top; foot upturned; loop leaves stem at a 
somewhat obtuse angle, resulting in a more 
pointed oval than in the ^^-form. 

^-form 
Loop leaves stem at more nearly a right 
angle; has a more pronounced curve at the 
base line, the general effect of the loop being 
much more circular than that of the a-iorra. 
The stem bends slightly to the right at the 
point where it is joined by the upturn of the 
loop. 



40 



ITALIC (Case 1) — contivued 



<3-form 
The line drawn to produce the end of the 
basal upstroke (in the direction in which the 
upstroke tends) will, either above or below 
the base line, intersect the line which will 
bisect the loop.' 



hifcCi 



xxstv 



* rH-rrhtraSmrrrnit 35t 



e 



•- Ft 



m 



i!^ 



^'"It '''irMi'M i'-'][j-. 



Z'-form 
The line bisecting the loop and the line of the 
upstroke produced will run approximately 
parallel. 




<2-form 
Curve at top flatter than in the i-form, some- 
times showing a small neck at left. 




Z'-form 
Letter stands nearly erect; curve of top more 
circular than in the a-form. 



l"Bisect the loop," i. e., will pass through the major axis of the 
completed oval, and will thus divide it into two equal parts. For 
a detailed explanation of this test see p. 33. 







ITALIC (Case 1) — continued 



ms 



l-t-r;±j 



m 



■.f.:. 



m^& 






^mmm=F?m 



(T 



Eti 









a-form 
The lower loop is attached to the center of 
the oval; the connecting line drops almost 
straight to the ellipse. 




Z'-form 
The lower loop is attached a little to the left 
of the center of the oval; the connecting line 
has a curve or bend in it as it drops to the 
ellipse. 




^^^as^^M 



<2-form 
The angle formed by a line which will pass 
through the vertical axis of the stem, with one 
which will "bisect the loop"' is less than the 
corresponding angle in the Z'-form. 



/?-form 
The angle described above is greater in this 
case than in the <3-form. 



l"Bisect the loop," i. e., will pass through the major axis of the 
completed oval formed by the loop, and will thus divide the oval 
into two equal parts. For a detailed explanation of a mechanical 
determination of this angle see p. 32. 

42 



ITALIC (Case 1) — continued 



(2-form 
The kerns at top and bottom do not corre- 
spond either in appearance or direction. 



W- 






m. 



3t 



bHj±;Tttf-rt!T|55 



g^iK 



+1 



/ 



se 



m 



i±t 



gtoi^ it M iro 






'■M 



' 't-j- H 



tiii 



^-form 
The kerns correspond in the general direction 
of their strokes. 



±'tj;itt-±: 



A 



iii 






idittbrHztitEElit 



iTfirq± 



1 
i 



m 



w. 



<3-form 
Left-hand outhne of stem straight to base Hne. 



m 



mr: 



m 



ttet 



ssn 






W±ii 



I 



tfei± 



E: 



^iS^fflSS 






.4-|-f-p -j-H-T-|-U-^^. .44-ua4X|44-44-U- 



^ 



4-H-' . 



(^'-form 
Left-hand outUne of stem turns shghtly to 
the right as it approaches the base. 



h-Ttt-!-^ t^tTtl'"'""^tlt '"^ jlttl j 






m 



M 



jTC - i -Li-U-i-lili j±tr 



I 



iii444ti:trJ3^ 



i±n 



^ 

a 



43 



ITALIC (Case 1) — continued 






m 






tJti 



Ttt-u 



m 



■xit 



"-U:r:x; 



±trt±i: 
rtit ir 



Em3 



l- 



gtf Mjt saj 






--M- --,-^-4 -t-'-H-t-i-^ ► 






I --F 



LL__ 



-±; 



^4^JhA "t 



m 



1 f-L±r£4fc 



±r^-t_ai 



ti.:~ 



(3-form 
The third down-stroke is more nearly vertical 
than the second. Lines passing through the 
vertical axes, of these two strokes would in- 
tersect. 

^-form 
The third and second down-strokes more 
nearly parallel than in the <2-form, i. e., lines 
passing through the vertical axes of these two 
strokes would be nearly parallel. All parts of 
the letter slant to the right more than in the 
<3-form, especially the hair-lines. Taken from 
"L. Digges" Poem. 



-I'-^-l-H-H+Hfri 






-rrHii: 



n 



m 



(2-form 
The second stroke is more nearly vertical as 
compared with the slant of the first. Lines 
passing through the vertical axes of these two 
strokes would intersect. 







^-form 
The down-strokes approximate parallelism, 
i. e., lines passing through the vertical axes of 
these two strokes would be nearly parallel. 



44 



ITALIC (Case 1) — continued 



a-fovm 
The general impression created by the a-form, 
both in the outhne of the oval and the interior 
oval, is that of a slant. 



^-form 
Appears more erect than the a-form. Often 
more nearly an eUipse than an oval in its 
outline. 




<2-form 

The angle formed by a line which will pass 
through the vertical axis of the stem, with one 
which will "bisect the loop"^ is greater than 
the corresponding angle in the ^-form. Loop 
is narrower at bottom than top. 



sajsi 



tttt 



ml" 



m 



jtitfcjffi^diH 



mS 



P 



ttmtffi 






mM 



i 



rr:l 



S 



b-form 
The angle described above is less in this case. 
The outline of the loop is equal or nearly so 
at top and bottom. 



l"Bisect the loop" /. e., will pass through the major axis of the 
oval formed by the completed loop, and will thus divide the oval 
into two equal parts. 

45 




ITALIC (Case 1) — continued 



m 



m 



m\ 



r n ■ I 3 



i 



itti 



^Mmm 



4-mTH 



.i-i4i-u.j-f^4 



tEaBdSEsrfidSii 



tdd 



M 



r 



m 



m. 



i 



rffi 



s^ 



it 



m 



m 




fl-form 
The right kern after leaving the stem has the 
appearance of spreading upward and outward, 
while the left kern seems to continue or pro- 
long the stem. 



^-form 
Both kerns start to spread apart at the same 
point along the stem, thus making the kerns 
appear nearly equal in size. The letter as a 
whole is noticeably more erect than the <2-form 
letter. 



fe± 



yit 



1^ 



M 



laasH mi f ja iai 



/ 



-rtxt: 



m 



ttd 



m 



tffi 



fH+H4^i- 



±id 



m 



a-iorm 
There are long and short letters in both forms. 
Curves at top and bottom less rounded than 
in the Z?-form. 



:iitt:±L 



u'Linn -H^-ffH-i- 



^ 



m±-it 



S 






b-iovm 
Curves at top and bottom more rounded than 
in the a-form. 



46 



ITALIC (Case 1) — continued 



<2-form 
Curves at top and bottom less pronounced 
and give the letter a narrow, pinched ap- 
pearance. 




^-form 
Top and bottom more pronounced and dis- 
tinctive, giving the letter more character and 
strength. 



Effi; 



m 



■m 



:l 



-J::; 



m^m 



ftjiMtiiwMiMfr 



s 



tt 



ffl'nfe'ff 



m 



m 



I-Tffl41 



i 



fl-form 

Foot upturned, giving a rounded base to the 
letter. More slanting than the /^-form. 




^-form 

The letter as a whole is slightly taller and 
more erect than the a-form. 






m 



S±t3 



t 






'^m 



!ii: 



47 



ITALIC (Case 1) — continued 






m 



n 



u 



"mwmmM 







<2-form 
The connecting line seems to intersect rather 
than to merge with the second stroke. The 
second down-stroke runs straight to the base- 
hne. 



^-form 
The connecting Hne joins the second upright 
at a higher point than in the a-form, appear- 
ing tangent to it rather than intersecting it. 
Letter nearly erect; the second down-stroke 
tends slightly to the right before reaching the 
base-line. 



m 



mmi 



tttffi 



ipSIffi 



m 



iattt 



tP 






a-form 
The letter is flat topped. 



'vniti 



*t±tEi 



^ 



i±t± 






1 



iJ4+i4+LJ-UJ444 



tti±ti±hti 



Ttf 



&S 



ffi^Sta^ 



a 



^-form 
First and third strokes on the left extend 
above the body of the letter. 



48 



ITALIC (Case 1) — continued 



(2-form 

First stroke nearly vertical; second stroke 
same, until it reaches the base-line, i. e., the 
line upon which the type-letters stand, then 
it curves sharply. Hence the space between 
the strokes at the top is narrower than in the 
Z^-form, and the second stroke seems to be an 
arc of a circle whose diameter is smaller than 
that of the corresponding circle in the i^-form. 

b-iorm. 
First stroke slants toward the left; second 
stroke slants toward the right before curving, 
and thus seems to be an arc of a circle whose 
diameter is greater than that of the corre- 
sponding circle in the a-form. Taken from 
"L. Digges" Poem. 






[i 



mm 



-M 



■ 



y 



V-' 



m. 



^^^^^mmm 



iMfflii 



m^ 



;^ 



^iittfci 



ill 



Si 




DIGRAPHS 
<3(2-form 
The union of a rounded-backed c that shows 
an angle in the base, with a t that comes well 
down to the line of writing with the slant of 
the (2-form and the curved, upturned foot, 
gives the combination "aa." 



bb-ioxm. 
The union of a narrow flat-backed c rounded 
at base, with a t that bends slightly and has an 
angular base, with a straight foot directed 
outwards, gives the combination "bb.'' Taken 
from "The Prologue." 




49 




ITALIC (Case 1) — continued 
DIGRAPHS— fonhnw^^ 

ab-forva 
The union of a rounded-backed c that shows an 
angle in the base, with a t that has an angular 
base with a straight foot directed outwards, 
gives the combination "ab.'' 



ba-iorn\ 
The union of a <: whose roundness commences 
near center of back, with a / that comes well 
down to the line of writing with the slant of 
the (2-form and the curved, upturned foot, 
gives the combination ''ba." 




aa-ioxvci 
The union of a short, well-rounded i with an 
s narrow in the head and angular in the 
base, gives the combination "aa." 



bb-form 
The union of a sharply-pointed i with an s 
having a long top and with a curve extending 
nearer to the base line gives the combination 
"bb." Taken from "L. Digges" Poem. 



50 



ITALIC (Case 1) — continued 
DIGRAPHS— conimued 

ab-form 
The union of an i whose kern does not cor- 
respond with the curve of the base with an s 
having a narrow top, gives the combination 
"ab." Taken from "L. Digges" Poem. 



ba-form 
The union of a somewhat large i, the kern 
and base corresponding, with an s flat in the 
head, gives the combination ''ba." 




1 



iS 



3i| 



„J-- 






aa-form 

The union of a longy, having a flatter curve 
at the top, with a t having a slanting bar and 
somewhat wide angle between the foot and 
the stem, gives the combination "aa." 



iLi ilit- -1 







rp-t 









bb-form 
The union of a long / having a well-curved 
head, with a t having a nearly horizontal bar, 
gives the combination "bb." Taken from 
"L. Digges" Poem. 




51 




ITALIC (Case 1) — continued 

DIGRAPHS— continued 

ab-form 
The union of a delicate long / having a flat 
curve at top, with a t having a bar nearly 
horizontal and a foot somewhat close, gives the 
combination "ab." Taken from "L. Digges" 
Poem. 



ba-form 
The union of a somewhat strong / having 
a well-curved top, with a t having slanting bar, 
gives the combination "ba." Taken from 
"L. Digges" Poem. 




SHm^^SS^^ 



rMmLiiiiijjiiJhiiiirmtd-Ei 




ITALIC (Case 2) 
<2-form 
Cross-bar straight and only slightly slanting. 
Some instances of this letter have distinct 
kerns at the top; one or two show an "accent" 
on the left foot; others show dots. The 
presence of the kern at the top, or of accents 
or dots determines the form. 



^-form 
Cross-bar curved at left or distinctly slanting. 
No kern at top. 



52 



ITALIC (Case 2) — continued 



fl-form 

A long letter extending below the line of 
writing. 




i^-form 
Same general height as the other capitals. 
Taken from "A Catalogue." 







fl-form 
If lines are produced exactly along the top 
and the base, the two lines will intersect at 
a point from two to three inches from the 
letter. Slightly narrower than the b-iorm.. 
Taken from "The Prologue." 



^-form 
Lines produced exactly along the top and 
base will intersect at a point two or three 
inches farther from the letter. Slightly wider 
than the «-form. 




53 



ITALIC (Case 2) — continued 




a-form 
Lines produced along the top and tongue or 
crossbar will intersect at a point very near 
the letter. Slightly narrower than the ^-form. 
Taken from "L. Digges" Poem. 



^-form 
Similar lines will intersect at a point from four 
to five inches from the letter. Slightly wider 
than the a-(oim. 




(2-form 
The chin nearly vertical, with brow over- 
hanging. Taken from "The Prologue." 



p 

m 



+4± 



c± 



tit 



m 






m 



G 



m 



m 



iS 



m 



ti* 



^-form 
Chin slanting; the letter is thus more sym- 
metrical than is the <2-form. 



54 



ITALIC (Case 2) — continued 



fl-form 
Third stroke ends in a kern that is distinctly 
curved. Taken from "L. Digges" Poem. 



(^-form 
Third stroke ends in a kern that is straight 
and blunt. 




fl-form 
The loop has a strong, full curve, approaching 
the stem more closely than in the b-iorm. 



^^^m 



5:iSl 



M 
m 



m 



ssMfeaiK 



s^KEei^ 



m 




ffi. 



SSit 






u 



b-form 
The loop ends at a point farther from the stem 
than in the a-form. Width of the loop slightly 
greater than in the a-form. Taken from 
"The Prologue." 



55 






T.t; ±-•'--(-1 
tfe 



,rWp: 



'4r]i±t 



*? 



i;: 



fj*tr!t-^rH'i' 






S 



ITALIC (Case 2) — continued 



pip: 

M 






5af: 



tf±- 



5{ 



StS 



i±r 



^-form 
Level top, extending well to the left. Taken 
from "The Prologue." 



i^i 



'^M 



^ia*t 



Mti. - - ' 

:^S£ii._ -.-. 



H-^'-i-U- 



Si 



SiS 






/^-form 
The top is a segment of a circle. 



m 



^£ 



55 



itt 



'n^ 



■tt: 



s 



m^ 



ffi: 



fl-form 
More slanting than the ^-form. Curves pro- 
nounced; a hook-shaped letter. Taken from 
"L. Digges" Poem. 




Z)-form 
More erect. Curves not so pronounced; a 
wider letter than the a-form. 



56 



ITALIC (Case 2) — continued 



a-ioxm 



Curved, ornate top. 




^-form 
Romanesque. Taken from "The Prologue." 



m. 



im 



:s 



m 



h-fr- ! I I i I ! I I i ! i -H+ 



__, .XT uXni .^^-i. 



r 



tr+R-H^ tTi 7!-n ^frflffRJ-HtJ- 



rH 



i±l:. 



m 



£+tt 



(3-form 
First up-stroke extends nearly to the top of 
the letter. Width between perpendicular 
strokes noticeably greater than in the b-ioxm.. 
A tall letter. 




^-form 
First up-stroke very short. Width between 
first and third strokes less than in the <2-form. 
It is accented and therefore marked as «-form. 






St; 



^vmrn- 



4? 



m 



ttd 



t*-F7 






PtE 






■im. 



e+E 



^^ 



W 



w 



•±t: 



gjffi 



i±tl;.t± 



m 



i- Tlfi .-- 



M 

s 



ii 



57 



i= 




TTTTTnr r m 



m 



mi 






S 



ri-!-ri"H-tt-tTn-ri : 1 1 -ti^ttrT 



Sf 



ffl 



ITALIC (Case 3) 



(3-form 
Spreading at the base with the loop rounded. 




(^-form 
More erect than the a-form. Lower hne of 
loop rounds into stem, making the loop 
appear an oval. Taken from " Principall 
Actors." 




=e=f 



m 



mam#5?5fi 



lii'i lilii l+li llkiil K-i- 









ffiTH4-lii-44Jti?i-t^r-qtKt 



rt-form 
The base line produced would not complete 
the oval. 




^-form 
The base line produced joins the top and 
completes the oval. 



58 



ITALIC (Case 3) — continued 

(2-form 
Loop narrow at top, and pointed. The angle 
formed by a line that will pass through the 
vertical axis of the stem, with one that will 
"bisect the loop"^ is greater than the cor- 
responding angle in the b-ioxm. 



h 



:^:n'' 



i^-form 
The angle described above is less in this case 
than in the a-ioxva. Taken from " Principall 
Actors." 




(2-form 
The two lines of the small loop approach 
each other as they join the stem. 



r 



- -*-r-t-H-' 










Z'-form 
The two lines of the loop remain widely 
separated as they join the stem. Taken from 
"Principall Actors." 



i"Bisect the loop," /. e., will pass through the major axis of the 
completed oval and will thus divide it into two equal parts. For a 
method of determining this angle see p. 32. 

59 





ITALIC (Case 3) — continued 

<3-form 
Loop broader at the base than in the i^-form. 
Base Hne of loop meets stem at approximately 
a right angle. 



^-form 
Loop narrower at base than in the <2-form, 
and the lower line slants into stem. Taken 
from "Principall Actors." 




(3-form 
The two arms spread at approximately equal 
angles from the stem. 



b-iorvci 
The left arm is inclined to follow the direction 
of the stem, while the right one spreads as 
in the a-form. Taken from "Principall 
Actors." 



60 



ITALIC (Case 3) — continued 



a-form 
Horizontal line appears on the inside of the 
top and base kerns. Curves more pronounced 
than in the ^^-form. 



i 



w^ 



Wf¥—-\'- 



m^ 



"mm 




tc 



sfi+tl 



^-form 
Curves not so pronounced, the top and bottom 
curves do not correspond. Taken from 
"Principall Actors." 



ITALIC (Case 4) 




fci:b::iti 






:ft:;;:r- 1 LLH.:. !.;.L! j.i.ru?ixi"\rn.iT3:T.:. 



a-form 
Curves at top and bottom more pronounced 
than in the Z'-form. 



Z'-form 

Curves at top and base flat-inclined. Taken 
from "Principall Actors." 



rA 



s 



'i-'}l J 


O 2 


3 

x: 
3 




—:,::,:^::,z ,;, 









ITALIC (Case i) — continued 

<3-form 
Up-strokes and down-strokes join at base. 
Taken from " Principall Actors." 



aniL .. i 1: LijrTatr:j-iLo-ii:. i^Fgga 






m 



m 




i 



:it$: 



ibsitl 



]±m}i£tti3tnft^^ 



m 



I 

tti: 



ttri 



dtti 



mj:UM M gj3Sg 



ISiSM 



a 



r-ii+^ 



M- 



St 



:ffl 






^-form 
Up-strokes leave down-strokes appreciably 
above the base-line. 



ROMAN (Case 5) 

fl-form 
The upper and lower lines of the loop or oval 
if produced on the right will run approxi- 
mately parallel. 




^-form 
The outlines of the loop if produced approach 
each other. 



62 



ROMAN (Case S)—coiUhuied 



fl-form 
Slightly more circular in contour than the 
Worm. 



Worm 
Slightly move oval in contour, foot less circu- 
lar than in the (3-form. 



4St 



if 



FfffYff' 



e 



feiigitiit^ti^ 






m 



'"^ 



e 






Wi 



IP 



«-form 
A more pronounced curve on the outside of 
the loop than the Z'-form. 



U-l 



h 



iiit 






b-iorm. 
Slightly flatter at the outside top of the curve, 
and the line descending from the curve to the 
base line is not as vertical as in the a-form. 
Taken from "L. Digges" Poem. 



:LJ 



h 



liL>.:JiiiJjltiUil[lja 






63 



ROMAN (Case 5)— continued 







a-form 
Stem tapers as it reaches the top, and the 
top kern is straighter on its outer line than 
in the Z'-form. Talcen from "L. Digges" 
Poem. 



±i+i 



i 






i 



-t-itf- 



x± 



tT+?f 



1 



i±S± 



m 



3H* 



i 






±i± 



^-form 
Stem apparently uniform in width; the upper 
kern is less sharp than in the <3-form. 




(3-form 
A shorter letter than the Z^-form. The point 
of junction of limbs and stem shows noticeable 
differences between the two forms. Taken 
from "L. Digges" Poem. 



k 



Tttt 



4!TTTJ-rri-tt+H> 



S± 



EH 



PI 



'ix' 



^-form 
Slightly taller than the <a-form. 



64 



ROMAN (Case S)—conlimied 



<7-form 
The oval longer than in the ^-form. 



ttt^. 



iS£ 



W 



P 



tm 



1 



tfS 



t-iH4 



m 






m 



b-ioxm. 
The loop distinctly rounded at top and bot- 
tom. Taken from "L. Digges" Poerp, where 
a dot changes its significance to <2-form. 



m 



Uil 



\iU 






HH 



4.^ 



PR 



jT i It i ni' 



:.i 



P 



5 









"trt 



a-form 
The stem resembles the a-form i; the limb is 
well curved and larger than that of the 
i^-form. Taken from "L. Digges" Poem. 



Z?-form 
The stem is like the ^-form i. The right kern 
projects more at a right angle and is smaller. 




65 



ROMAN (Case 5) — continued 




(2-form 
Higher than the ^-form and heavier in outhne, 
with a sharper curve at the top. 



Hi 



'^T— r 



m 



{ 



mt- 



M 



Z'-form 
Possesses the characteristics of the "old-style" 
type, as the term is used by present-day 
printers. The curve is flatter and wider and 
the general outline of the letter is lighter. 
Taken from "L. Digges" Poem. 




<3-form 

The toe is longer and more curved than in the 
^-form. 



^-form 
The toe turns more sharply outward than in 
the (2-form. Taken from "L. Digges" Poem. 



ROMAN (Case S)— continued 



-form 



No example. 




^-form 
Form determined by context. 




ROMAN (Case 6) 



a-form 
Form determined by context. 






Hlj±£ 



E 



:tiJ4 



"1 



Jax. 



3&±kltliii:i_Li jLxttlit 



Z'-form 



No example. 




67 



ROMAN (Case 6)— continued 



i I ! I ■ ! ! i ' i 



a 



qi±3J#a±#f;" 



ittt 

M 



:ffli 



5t 



s 



m 



m 



- iittfc-H^ -.444 



■Its 



st 



EH 



tad 



»s 



^tta 



<2-form 
Close measurement shows the a-form to be 
shghtly taller than the Z'-form. The space 
enclosed in the lower half is vertically longer 
than that in the b-iorva. Taken from "L. 
Digges" Poem. 



H i I ' I ! ; : : 1 1 1 i ; ! M I ! 1 n M 1 1 



ffiiSisSiffies 



m 



±fe 



s 



i 



m 



±p± 



i±3it4 



Hi-ti-t" 



i±f:;±m#t 



iffi 




^-form 
Tips of the curves less finished and sharp. 
Slightly shorter, and space within lower curve 
less than in a-form. 



ROMAN (Case 7) 

<3-form 
The upstroke of the bottom curve, if extended, 
will pass close to the upper loop because 
of the greater width of this loop as compared 
with the ^-form. 



i^-form 
Greater space between the extension of the 
bottom curve and the upper loop because of 
the comparative narrowness of the letter. 
Bar of the loop slightly slanting. 



68 



ROMAN (Case 7)— continued 



(2-form 
Form determined by context. 



^-form 



No example. 




(3-form 
A clumsier, heavier letter than the b-iorra 
with a more pronounced curve in the upper 
portion of the loop, except where it joins the 
stem. 



r^" 



^1 



t±r% 



V^' 



h 



t^ 



-t1 



3±tH±.._iii-:^th-±* 1- ^11+ -itt-i 



Z'-form 
The loop, at the point where it joins the stem, 
has a greater curve than in the a-form. 
Taken from "Principall Actors." 




■Tll.t.ij 



gl 



5? 



• 



1 



ROMAN (Case 7)— continued 



<z-form 
A heavier, clumsier letter than the Z^-form, 
with kern blunt. 




/^-form 
The kern is more angular and sharply promi- 



nent. 




a-form 
A clumsier, heavier letter than the Z^-form, 
with a more pronounced curve in the upper 
portion of the second loop. 



kH" 



ulElijJ l uili i-UU^l... 






m. 



Z'-form 
The inner margin of the last loop, at the 
point where it joins the stem, creates the 
impression of greater squareness and less of 
a curve than in the <2-form. 



70 



ROMAN (Case 7)-— continued 



<2-form 
If the letter be placed in a right angle so that 
the left and bottom curves of the letter are 
tangent to the sides of the angle, a line 
bisecting the angle will also bisect the oval 
of the letter. 



HMj-iWiUtarfa 



o 



S(-- 



Jijiliiuli 



li£ 



b-form 
The test described for the a-form will result 
in the oval being divided in such a way that 
the greater portion is above the line of bisec- 
tion of the right angle. Taken from "A 
Catalogue." 




a-form 
Possesses the characteristics of what is known 
in printer's language as "modern" type. 



- --.■.■>-4-» . -v* " 4;4 . T"*"^ 



r 









"■■; 







b-form 
An "old-style" letter. Taken from 
cipall Actors" and "A Catalogue." 



71 



Prin- 






r 



a iilantSiifeffiisSas 



ROMAN (Case 7)~continued 




(2-form 

Curve at base more pronounced than in the 
^-form. 



i^-form 
Wider and flatter at the base. Taken from 
" Principal! Actors." 



INITIAL LETTER 




<2-form 
No example. 



^-form 

Form determined by con- 
text. 



72 



ROMAN (Case 8) 



(2-form 
Form determined by context. 



^-form 



No example. 




a-form 
Possesses the characteristics of the form 
known to printers as "modern." Taken from 
"A Catalogue." 



Z'-form 
Slightly higher and pronouncedly heavier, 
particularly where the top joins the kerns. 



73 




THE INDEX OF TYPICAL LETTERS 

The last section of this booklet (pp. 7S to 100) is devoted to an "Index 
of Typical Letters." The student desiring to trace the source of each of the 
"typical letters" constituting the Classifiers and the Alphabets will find here 
the work done for him. If, for instance, the source of the <3-form of the small 
italic y in the "I. M." Poem is desired to be ascertained, the List of Arbi- 
trary Case Numbers at the beginning of the Index should first be examined 
to ascertain the case number assigned to the small italic in the "I. M. "Poem. 
The section of the Index assigned to this poem should then be turned to, 
and the appropriate case-number name and heading found. In the in- 
stance named above (the lower-case italic a-form y) it will be ascertained 
to come from the word "Thy" in line 4 of the poem. In each case where a 
letter of a given form did not occur in a passage covered by the section in 
question, the source is indicated; thus in the case of the ^-form y, the 
phrase: "Dig. 2 Thy (2nd)," means that the i^-form of the y was taken 
for purposes of illustration from the word "Thy" (2nd occurrence) in line 
2 of the "Digges" Poem, there being no occurrence of the b-iorm. y in the 
"I. M." Poem. 

The method of illustrating the typical letters by a form not found in 
any given passage will be found fully explained above in the sections en- 
titled "The Alphabets and Classifiers" (pp. 7 ff.). 



For suggestions which will afford material assistance in the work of decipherment, 
the student is referred to a booklet entitled "Hints to the Decipherer of the Greatest 
Work of Sir Francis Bacon," etc.. to be obtained on application to Riverbank Laboratories. 



74 



INDEX OF TYPICAL LETTERS^ 

The following list contains examples of the various sizes of type to which 
arbitrary case numbers have been assigned for convenience. 

WORD 

Art 

Art 

Shakespeare 

Shakespeare 

Shakespeare 

Shakespeare 

To 

To 

Principall 

Principall 

Workes 

Workes 

CATALOGVE 

Shakespeare 

1 For an explanation of the phrase "Typical Letters" see p. 9. 
In the pages following these abbreviations have been used: 
P. A. = "Principall Actors" 
Pro. ="The Prologue" 
Dig. ="L. Digges" Poem 
Cat.="A Catalogve" 
I. M.="I. M." Poem 
L = Left-hand column 
R = Right-hand column 
Tit. = Title 



CASE 


DESCRIPTION 


SOURC 


E 


LINE 


NO. 












1 


Italic 


small 


"I. M." 


Poem 


5 


2 


u 


capitals 


u 


a 


5 


3 


u 


small 


a 


a 


Title 


4 


CI 


capitals 


u 


a 


Title 


5 


Roman 


small 


a 


a 


1 


6 


a 


capitals 


11 


a 


1 


7 


li 


small 


u 


u 


Title 


8 


a 


capitals 


u 


a 


Title 


9 


a 


small 


"Princip 


all Actors" 


Tit. 5 


10 


u 


capitals 


a 


a 


Tit. 5 


11 


a 


small 


a 


u 


Tit. 1 


12 


a 


capitals 


a 


u 


Tit. 1 


13 


a 


capitals 


"A Catal 


logve" 


Tit. 1 


14 


a 


capitals 


"L. Digges" Poem 


Tit. 3 



75 



TYPICAL LETTERS IN "I. M." POEM 







ITALIC (Case 1) 










(3-form 




b-form 


LETTER 


LINE 


WORD LETTER 




LINE 


WORD 


a 


5 


applause a 




4 


Spectators 


b 


4 


Z?ut b 




3 


but 


c 


8 


Re-entrance c 


Dig. 


2 


which 


d 


6 


secon<i d 




3 


printed 


e 


1 


wondrd-d e 




1 


went'st 


f 


4 


/orth f 




7 


of 


g 


2 


Stage g 




2 


Tyring 


h 


5 


witA h 




3 


thy 


i 


3 


printed i 




7 


Mortalitie 


1 


6 


/iue 1 




2 


Worlds 


m 


2 


From m 


Dig. 


3 


must 


n 


5 


enter n 




7 


an 


o 


3 


worth o 




2 


Worlds 


P 


3 


j^rinted p 




4 


Spectators 


r 


2 


Graues r 




4 


forth 


/ 


6 


/econd f 




1 


fo 


s 


2 


Worldj- s 




7 


That's 


t 


1 


^hat t 




4 


thy 


u 


3 


hut u 




1 


thou 


w 


1 


wondrtd w 




5 


with 


y 


4 


thy y 
DIGRAPHS 


Dig. 


2 


thy (2nd) 


DIGRAPH 


LINE 


WORD DIGRAPH 


] 


LINE 


WORD 


Ct 


5 


Actors ii- 




3 


thij 


ct 


6 


acte is 


Dig. 


3 


is 


ct 


4 


Spectators ft 




1 


went'/2^ 


ct Pro. 


20 


Expectation ft 


Dig. 


3 


mu/t 


is 


8 


This it 


Dig. 


3 


ftone 


is Dig. 


5 


This ft 


Dig. 


14 


mift 



T6 



TYPICAL LETTERS IN "I. M." FOEM— continued 









ITALIC (C 


ase 2) 












a-form 






b-form 


LETTER 




LINE 


WORD 


LETTER 




LINE 


WORD 


A 




5 


^rt 


A 




5 


An 


c 




6 


Can 


C 


Cat. 


5 L 


Comedy 


E 


Pro. 


20 


Expectation 


E 




1 


Wee 


F 


Dig. 


7 


i^resh 


F 




2 


From 


G 


Pro. 


1 


Greece 


G 




2 


Graues 


M 


Dig. 


4 


Moniment 


M 




7 


Mortalitie 


P 




8 


Plaudite 


P 


Pro. 


7 


Put 


R 


Pro. 


6 


i^egall 


R 




8 


Re-entrance 


S 


Dig. 


18 


Sword 


S 




4 


Spectators 


T 




2 


Tyring 


T 


Pro. 


15 


Their 


W 




3 


/Fee 


W 




2 


Worlds (f,7,:fi«'') 



1 For an explanation of dotted and accented letters see p. 10. 





ITALIC (Case 3) 
a-form 


b-form 


LETTER 


LINE 


WORD 


LETTER 


LINE 


WORD 


a 
e 
h 
k 

P 

r 

/ 


Title 
Title 
Title 
Title 
Title 
Title 
Title 


Shakespeare 
Shakespeare 
SAakespeare 
Shakespeare 
Shakespeare 
Shakespeare 
Shake/peare 


a 
e 
h 
k 

P 

r 

f 


P. A. IR 
Title 
P. A. 6R 
P. A.13L 
P. A. 5L 
P. A. 2L 
P. A. 8R 


Samuel 

Shakespeare 

Nicholas 

Cooke 

Kempt 

Richard 

Jofeph 




ITALIC (Case 4) 
<3-form 


b-form 


LETTER 


LINE 


WORD 


LETTER 


LINE 


WORD 


s 

w p. 


Title 
A. SL 


iShakespeare 
/Filliam 


s 
w 


P. A. IL 
Tit. 1 


Shakespeare 
W 



77 



TYPICAL LETTERS IN "I. M." FOEM— continued 



ROMAN (Case 5) 



-form 



ETTE] 


R 


LINE 


WORD 


a 




1 


Shakespeare 


e 




1 


Shak(?speare 


h 




1 


S/zakespeare 


i 


Dig. 


16 


luh'et 


k 


Dig. 


1 


Sna/^espeare 


P 




1 


Shakespeare 


r 


Dig. 


9 


Shakespeares 


/ 




1 


Shakespeare 


t 




7 


Exi^ 


X 









ROMAN (Case 6) 



(2-form 

LETTER LINE WORD 

E 7 Exit 

S Dig. 21 Shakespeare 



b-form 



EITER 




LINE WORD 


a 




1 Shakespeare 


e 


Dig. 


16 luhet 


h 


Dig. 


9 Shakespeares 


i 




7 Exit 


k 




1 Shakespeare 


P 


Dig. 


1 Snakespeare 


r 




1 Shakespeare 


/ 


Dig. 


9 Shakefpeares 


t 


Dig. 


4 Stratford 


X 




7 Exit 


se 6) 
iTTER 




b-form 

LINE WORD 


E 






S 




1 Shakespeare 



-form 



ROMAN (Case 7) 



!TTER 


LINE 


WORD 


e 


Title 


memoriif 


f 


Title 


of 


h 


Title 


the 


i 


Title 


memor/e 


m 


Title 


wemorie 


o 


Title 


To 


r 


Title 


memo;-ie 


t 


Title 


^he 



b-form 



i3-form 

LETTER LINE WORD 

M Title AI 

T Cat. Sub-Tit. Histories 



LETTER 


LINE 


WORD 


e 


Title 


the 


f 






h P. A. 


Tit. 6 


these 


i P. A. 


Tit. 3 


according 


m 


Title 


memorie 


o Cat. 


Tit. 3 


Volume 


r P. A. 


Tit. 3 


Tragedies 


t P. A. 


Tit. 3 


set 


:ase 8) 








b-form 


LETTER 


LINE 


WORD 


M 






T 


Title 


To 



78 



Letters Taken from Other Sources to Supplement the Alphabets 
and the Classifiers for the "I. M." Poem^ 



NO. 


LETTER 


CASE 


FORM 


FROM 


LINE 


WORD 


1 


O 


7 


b 


Cat. 


Tit. 3 


Volume 


2 


T 


8 


a 


Cat. 


Sub-Title 


Histories 


3 


r 


7 


b 


P.A. 


Tit. 3 


Tragedies 


4 


W ' 


4 


a 


P.A. 


5L 


William 


5 


a 


3 


b 


P.A. 


IR 


Samuel 


6 


/ 


3 


b 


P.A. 


8R 


Jofeph 


7 


f 


5 


b 


Dig. 


9 


Shakefpeares 


8 


A 


1 


bb 


Dig. 


14 


mift 


9 


s 


2 


a 


Pro. 


1 


Scene 


10 


T 


2 


b 


Pro. 


15 


Their 


11 


y 


1 


b 


Dig. 


2 


thy (2nd) 


12 


c 


2 


b 


Cat. 


5L 


Comedy 


13 


c 


1 


b 


Dig. 


2 


which 


14 


t 


5 


b 


Dig. 


4 


Stratford 


15 


M 


2 


a 


Dig. 


4 


Moniment 


16 


is 


1 


bb 


Dig. 


3 


is 


17 


P 


2 


b 


Pro. 


7 


Put 


18 


i 


7 


b 


P.A. 


Tit. 3 


according 


19 


S 


4 


b 


P.A. 


IL 


Shakespeare 


20 


r 


3 


b 


P.A. 


2L 


Richard 


21 


E 


2 


a 


Pro. 


20 


^'xpectation 


22 


S 


6 


a 


Dig. 


21 


Shakespeare 


23 


k 


5 


a 


Dig. 


1 


Sna^espeare 


24 


r 


5 


a 


Dig. 


9 


Shakespeares 


25 


G 


2 


a 


Pro. 


1 


Greece 


26 


m 


1 


b 


Dig. 


3 


must 


27 


h 


3 


b 


P.A. 


6R 


Nicholas 


28 


h 


5 


b 


Dig. 


9 


Shakespeares 


29 


e 


5 


b 


Dig. 


16 


Juliet 


30 


F 


2 


a 


Dig. 


7 


i^resh 


31 


is 


1 


ab 


Dig. 


5 


Th?s 


32 


ct 


1 


bb 


Pro. 


20 


Expectation 


33 


i 


5 


a 


Dig- 


16 


luh'et 


34 


R 


2 


a 


Pro. 


6 


i^egall 


35 


/t 


1 


ab 


Dig. 


3 


mu/t 


36 


A 


1 


ba 


Dig. 


3 


itont 


37 


h 


7 


b 


P.A. 


Tit. 6 


these 


38 


t 


7 


b 


P.A. 


3 


set 


39 


^ (dotted) 


5 


b 


Dig. 


1 


Snakespeare 


40 


C 


3 


b 


P.A. 


13L 


Cooke 


41 


P 


3 


b 


P.A. 


5L 


Kempt 



1 The numbers in the first column correspond to the numbers accompanying the letter in question in the 
Alphabets and in the Classifiers. 

79 



TYPICAL LETTERS IN "L. DIGGES" POEM 







ITALIC (Case 1) 








<2-form 






b-form 


LETTER 


LINE WORD 




LETTER 


LINE 


WORD 


a 


1 at 




a 


6 


shall 


b 


2 by 




b 


3 


tombe 


C 


9 each 




c 


2 


which 


d 


6 fafie 




d 


4 


dissolues 


e 


11 Fir^ 




e 


6 


Marble 


f 


6 /ade 




f 


1 


fellowes 


g 


1 length 




g 


11 


cankring 


h 


1 lengtA 




h 


9 


each 


i 


10 reume 




i 


2 


out-liue 


k 


2 Worses (1 


St) 


k 


5 


Booke 


1 


6 Marb/e 




1 


5 


aliue 


m 


10 redeewe 




m 


3 


must 


n 


11 nor 




n 


4 


Moniment 


o 


2 world 




o 


6 


looke 


P 


1 ;pi0US 




P 


14 


sped 


r 


6 Marble 




r 


7 


Posteritie 


/ 


18 /pake 




/ 


9 


Verfe 


s 


1 piouj- 




s 


1 


fellowes 


t 


1 ^hy 




t 


1 


length 


u 


5 aliwe 




u 


1 


pious 


V 


5 &iew 




V 


Pro. 24 


voyce 


w 


5 view 




w 


5 


we 


X 


Pro. 15 six-gated 




X 


20 


exprest 


y 


1 th3; 




y 


2 


thy (2nd) 






DIGRAPHS 






DIGRAPH 


LINE WORD 




DIGRAPH 


LINE 


WORD 


li 


Pro. 27 /zrstlings 




ik 


12 


fAall 


/i 


Pro. 23 con/idence 




fh 


13 


fhall 


ti 


20 fire 




if 


6 


Braf/e 


is 


8 is 




ff 


4 


diffolues 


is 


5 This 




ft 


5 


/ill 


is 


9 is 




A 


3 


mu/t 


is 


3 is 




it 


3 


ftone 


fh 


6 //zall 




ft 


14 


mi ft 


/h 


7 Fre/h 











80 



TYPICAL LETTERS IN "L. DIGGES" POEM— continued 





ITALIC ( 
<2-form 


;Case 2) 




b-form 


LETTER 


LINE 


WORD 


LETTER 




LINE 


WORD 


A 
B 


7 
21 


y^ges 
Be 


A 
B 




11 

22 


Age 
But 


F 


7- 


Fresh 


F 


Pro. 


1 


From 


H 


10 


Here 


H 


Pro. 


3 


Haue 


I 


13 


I 


I 




17 


I 


L 


22 


Zawrell 


L 




9 


Line 


M 


4 


Afoniment 


M 


I.M 


. 7 


Mortalitie 


N 


11 


iVor 


N 


Pro. 


31 


Now 





12 


Of 





Pro. 


5 


Of 


P 


7 


Posteritie 


P 


Pro. 


7 


Put 


s 


18 


Sword 


s 




20 


Shall 


T 
V 


3 
9 


Thy 
Ferse 


T 
V 




14 

19 


Though 
Volumes 


W 


2 


/Forkes (1st) 


W 




2 


Workes (2nd) 




ROMAN (Case 5) 
<2-form 




b-form 


LETTER 


LINE 


WORD 


LETTER 




LINE 


WORD 


a 

d 


1 
Pro. 16 


SHakespeare 
Dar^an 


a 
d 




11 
4 


Naso 
Stratford 


e 

f 


9 


Shak^speares 


e 
f 




1 
4 


Snakespeare 
Stratford 


h 
i 


I. M. 1 
16 


SAakespeare 
luhet 


h 
i 


I.M 


9 

. 7 


Shakespeares 
Exit 


k 
1 


1 
Pro. 16 


Sna^espeare 
He/ias 


k 

1 


I.M 


. 1 
16 


Shakespeare 
luliet 


m 


18 


Rowans 


m 








n 


18 


Romans 


n 


Pro. 


9 


Menelaus 


o 


16 


Romeo 


o 




18 


Romans 


P 
r 

/ 

s 


9 

9 

1 

18 


Shakes^eares 
Shakespeares 
Snakeypeare 
Romani- 


P 
r 

/ 

s 


Pro. 


1 

1 

9 

16 


Snakespeare (dotted) 
Snakespeare 
Shakefpeares 
Chetas 


t 


4 


Straitford 


t 




4 


Stratford 


u 


16 


Ittliet 


u 


Pro. 


17 


Antenonidus 



81 



TYPICAL LETTERS IN "L. DIGGES" FOEM— continued 



<3-form 

LETTER LINE WORD 

g Signature Digges 

i Signature Digges 









ROMAN 


(Case 6) 








<2-form 






b-form 


LETTER 


LINE 


WORD 




LETTER 


LINE 


WORD 


H 








H 


1 


Snakespeare 


I 


16 


/uliet 




I 






N 


11 


A'aso 




N 






R 


18 


i^omans 




R 






S 


21 


Shakespeare 


S 


4 


Stratford 








ROMAN 


(Case 7) 







b-form 

LETTER LINE WORD 

g P. A. Tit. 3 Tragedies 



i Cat. Tit. 3 



this 



-form 



LETTER LINE 

D Signature 

L Signature 
S Tit. 3 

W 



ROMAN (Case 8) 



WORD 

Z)igges 

L. Digges 

Shakespeare 



b-form 



LETTER LINE 

D 
L 

S Cat. Sub-Tit. 
W Tit. 3 



WORD 



Histories 
W 



ROMAN (Case 9) 



-form 



b-form 



LETTER 



a 

c 

d 

e 

f 

h 

i 

o 

r 

/ 
t 
u 



T 
T 
T 
T 
T 
T 
Cat. T 
T 
T 
T 
T 



LINE 

t. 2 

t. 2 

t. 2 

t. 2 

t. 2 

t. 2 

t. 2 

t. 2 

t. 2 

t. 2 

t. 2 



WORD 

deceased 
deceased 
decease^/ 
deceased 

of 

the 

Comedies 

of 

Author 

deceayed 

the 



ETT 


ER 


LINE 


WORD 


a 


Cat 


Tit. 2 


Tragedies 


c 

d 


P. A 


Tit. 2 
Tit. 2 


containing 
deceased 


e 
f 
h 
i 




Tit. 2 


the 


P. A. 


Tit. 5 
Tit. 2 


the (2nd) 
Maister 


o 


P. A 


Tit. 2 


Comedies 


r 


Cat. 


Tit. 2 


Histories 


/ 
t 


Cat. 


Tit. 2 


the 


u 




Tit. 2 


Author 



TYPICAL LETTERS IN "L. DIGGES" FOEM— continued 



DIGRAPH (Case 9 continued) 



DIGRAPH 
it 



LINE 
Tit. 2 



WORD 

Maif^er 



a-form 

LETTER LINE WORD 

A Tit. 2 Author 

M Tit. 2 Maister 



-form 



LETTER 


LINE 


WORD 


E 


Tit. 1 


Memori£ 


H 


Tit. 1 


The 


I 


Tit. 1 


Memor/e 


M 


Tit. 1 


Memorie 





Tit. 1 


To 


R 


Tit. 1 


Memo/?ie 


T 


Tit. 1 


To 



ROMAN (Case 10) 
LETTER 

A 
M 

ROMAN (Case 12) 

LETTER 
E 
H 
I 

M 

o 

R 
T 



b-form 

LINE WORD 



b-form 

LINE WORD 

Tit. 1 The 



Tit. 1 Memorie 



Tit. 1 The 



-form 



ROMAN (Case 14) 



b-form 



tter 


LINE 


WORD 


LETTER 


LINE 


WORD 


E 


Tit. 3 


Shakespeare 


A 


Tit. 3 


Shakespeare 


H 


Tit. 3 


Si/AKESPEARE 


E 


Tit. 3 


Shakespeare 


K 


Tit. 3 


Shakespeare 


H 






P 


Tit. 3 


Shakespeare 


K 






R 






R 


Tit. 3 


Shakespeare 


S 






S 


Tit. 3 


Shakespeare 



Letters Taken from Other Sources to Supplement the Alphabets 
and the Classifiers for the "L. Digges" Poem^ 



NO. 


LETTER 


CASE 


FORM 


FROM 




LINE 


WORD 


1 


a 


9 


b 


Cat. 


Tit. 


2 


Tragedies 


2 


c 


9 


b 


P. A. 


Tit. 


2 


containing 


3 


h 


9 


b 


P. A. 


Tit. 


5 


the 


4 


i 


9 


a 


P. A. 


Tit. 


2 


Comedz'es 


5 


o 


9 


b 


P. A. 


Tit. 


3 ' 


Comedies 


6 


S 


8 


b 


Cat. 


Sub-Title 


Histories 


7 


g 


7 


b 


P. A. 


Tit. 


3 


Tragedies 


8 


i 


7 


b 


Cat. 


Tit. 


3 


this 


9 


d 


5 


a 


Pro. 




16 


Dar(fan 


10 


h 


5 


a 


I. M. 




1 


SAakespeare 


11 


i 


5 


b 


I. M. 




7 


Exit 


12 


k 


5 


b 


I. M. 




1 


Shakespeare 


13 


1 


5 


a 


Pro. 




16 


He/ias 


14 


n 


5 


b 


Pro. 




9 


Menelaus 


15 


s 


5 


b 


Pro. 




16 


Chetas 


16 


u 


5 


b 


Pro. 




17 


Antenonidus 


17 


F 


2 


b 


Pro. 




1 


From 


18 


H 


2 


b 


Pro. 




3 


Haue 


19 


M 


2 


b 


I. M. 




7 


MortaHtie 


20 


N 


2 


b 


Pro. 




31 


Now 


21 





2 


b 


Pro. 




5 


Of 


22 


P 


2 


b 


Pro. 




7 


Put 


23 


V 


1 


b 


Pro. 




24 


voyce 


24 


X 


1 


a 


Pro. 




15 


si;t-gated 


25 


fi 


1 


aa 


Pro. 




27 


j^rstUngs 


26 


fi 


1 


ab 


Pro. 




23 


con/idence 


27 


r 


9 


b 


Cat. 


Tit. 


2 


Histories 


28 


t 


9 


b 


Cat. 


Tit. 


2 


the 



1 The numbers in the first column correspond to the numbers accompanying the letters in question in 
the Alphabets and in the Classifiers. 



81 



TYPICAL LETTERS IN "A GATALOGVE" 









[TALIC (Case 1) 








<2-form 






b-form 


LETTER 


LINE 


WORD 


LETTER LINE 


WORD 


a 


16R 


Le^r 




a 


13L 


what 


b 


14R 


Macbeth 




b 


Pro. 15 


braue 


c 


2R 


Second 




c 


17R 


Venice 


d 


15R 


Traged/y 




d 


12L 


Ends 


e 


14R 


Macbeth 




e 


12R 


Athens 


f 


5R 


o/. 




f 


2R 


of 


g 


IIL 


Taming 




g 


3R 


King 


h 


17R 


Ot/^ello 




h 


13L 


Night 


i 


3R 


Lzfe 




i 


19R 


Britaine 


k 


lOL 


Ukt 




k 


Pro. 8 


ransacke 


1 


17R 


Othe/lo 




1 


14L 


Tale 


m 


12R 


Tiwon 




m 


IIL 


Taming 


n 


5R 


Hew. 




n 


5R 


Second 





19R 


of 




o 


16L 


of 


P 


6R 


^art 




P 


18R 


Cleopater 


r 


18R 


Cleopater 




r 


17R 


Moore 


/ 


3L 


Windybr 




/ 


13R 


Caefar 


s 


lOL 


As 




s 


12L 


Ends 


t 


IIL 


/he 




t 


12R 


Athens 


u 


13R 


JuHms 




u 


5L 


Errours 


w 


13L 


w\y2il 




w 


2L 


two 


X 


Pro. 15 


six-gated 




X 


6R 


Sixt 


y 


IR 


Henry 




y 


18R 


Anthony 








DIGRAPHS 






DIGRAPH 


LINE 


WORD 


DIGRAPH LINE 


WORD 


ft 


IR 


Fir// 




us 


9R 


Coriolanwi- 


A 


4R 


Fir/t 




us 


13R 


Juhui- 


it 


Pro. 28 


f/arting 




us 


lOR 


Titus 


ft 


IL 


Tempeft 




St 


7L 


Lost 








DIPHTHONG 










DIPHTHONG LINE 




WORD 








ae 


13R 




Caesar 







TYPICAL LETTERS IN "A CATALOGVE 


" — continued 






ITALIC 


(Case 2) 












a-form 








b-form 


LETTER 


LINE 


WORD 


LETTER 


LINE 


WORD 


A 


lOR 


Y^ndronicus 


A 




Pro. 


17 


And 


B 


Pro. 12 


5arke 


B 






19R 


Britaine 


C 


13R 


Caesar 


c 






5L 


Comedy 


D 


15L 


i)eath 


D 






7R 


Death 


E 


5L 


^rrours 


E 






12L 


Ends 


F 


IR 


/"irst 


F 






4R 


First 


G 


2L 


Gentlemen 


G 




Pro. 


21 


Greeke 


H 


3R 


Henry 


H 






8R 


Henry 


I 


Pro. 1 


/les 


I 






UR 


luHet 


K 


15L 


Zing 


K 






16R 


King 


L 


13R 


Life 


L 






16R 


Lear 


M 


9L 


il/erchant 


M 






17R 


Moore 


N 


13L 


Alight 


N 




Pro. 


31 


Now 





Pro. 2 


Orgillous 









17R 


Othello 


R 


16L 


i^ichard 


R 




I.M. 


8 


Re-entrance 


S 


IIL 


Shrew 


S 




Pro. 


5 


Sixty 


T 


IIL 


Taming 


T 






IR 


The 


V 


17R 


Venice 


V 




Dig. 


19 


Volumes 


W 


3L 


^iues 


W 






3L 


Windsor 


& 


16L 


Iff 

ROMAN 


& 

(Case 7] 


) 




■ ' 






a-form 








b-form 


LETTER 


LINE 


WORD 


LETTER 


LINE 


WORD 


a 


Tit. 3 


contained 


a 










C 


Tit. 3 


contained 


c 


p. 


A. Tit 


. 3 


according 


d 


Tit. 3 


cont3.'med 


d 




Tit 


. 3 


-gedies 


e 


Tit. 3 


-gedies 


e 




Tit 


. 3 


contained 


g 


Tit. 3 


-gedies 


g 


p. 


A. Tit 


. 3 


Tragedies 


h 


Tit. 3 


tAis 


h 


p. 


A. Tit 


.6 


these 


i 


Tit. 3 


m 


i 




Tit 


. 3 


this 


1 


Tit. 3 


Vo/ume 


1 


p. 


A. Tit 


. 3 


Truely 


m 


Tit. 3 


Volume 


m 


I. 


M.Tit 


. 1 


memorie 


n 


Tit. 3 


contained 


n 




Tit 


. 3 


in 


o 


Tit. 3 


contained 


o 




Tit 


. 3 


Volume 


s 


Tit. 3 


thij- 


s 


p. 


A. Tit 


. 3 


Tragedies 


t 


Tit. 3 


^his 


t 


p. 


A. Tit 


. 3 


set 


u 


Tit. 3 


Volwme 


u 











TYPICAL LETTERS IN "A C AT ALOGVE''— continued 



ROMAN (Case 8) 



(3-form. 



LETTER LINE 

A Sub-Title 

C Sub-Title 

D Sub-Title 

E Sub-Title 

G Sub-Title 

H Sub-Title 

I Sub-Title 

M Sub-Title 

O Sub-Title 

R Sub-Title 
S Dig. Tit. 3 

T Sub-Title 

V Tit. 3 



WORD 

Tr./gedies 



Tragedies 

Comedies 

Tragedies 

//istories 

Comed/es 

Coyl/EDIES 

Histories 

HiSTOiJIES 

Shakespeare 

Histories 

/^'olume 



b-form 



LETTE 

A 
C 
D 

E 
G 
H 
I 

M 

O 

R 

S 

T 

V 



R LINE 



WORD 



Sub-Title Comedies 



Sub-Title Comedies 



Sub-Title Comedies 

Sub-Title Tragedies 

Sub-Title Histories 

L M. Title To 



ROMAN (Case 9) 



fl-form 



b-form 



iTT 


ER 




LINE 


WORD 






LETTER 




LINE 


WORD 


a 






Tit. 


2 


seuerall 






a 






Tit. 


2 


Tragedies 


d 






Tit. 


2 


3.nd 






d 






Tit. 


2 


Comedies 


e 






Tit. 


2 


th^ 






e 






Tit. 


2 


Histories 


f 






Tit. 


2 


of 






f 












h 






Tit. 


2 


the 






h 


P. 


A. 


Tit. 


5 


the (2nd) 


i 






Tit. 


2 


Comedies 






i 






Tit. 


2 


Histories 


1 


P. 


A. 


Tit. 


2 


a/1 






1 






Tit. 


2 


seuerall 


m 






Tit. 


2 


Comedies 






m 


P. 


A. 


Tit. 


2 


Comedies 


n 


P. 


A, 


Tit. 


5 


Principall 






n 






Tit. 


2 


and 


o 






Tit. 


2 


Comedies 






O 


P. 


A. 


Tit. 


2 


Comedies 


r 






Tit. 


2 


seuerall 






r 






Tit. 


2 


Histories 


/ 






Tit. 


2 


yeuerall 






/ 












s 






Tit. 


2 


Comediej- 






s 


P. 


A. 


Tit. 


2 


Comedies 


t 


Dig. 


Tit. 


2 


^he 






t 






Tit. 


2 


the 


u 
















u 






Tit. 


2 


seuerall 














DIGRAPH 






















DIGRAPH 


LINE 


WORD 




















fi 


Tit. 


2 


Hiytories 









87 



TYPICAL LETTERS IN "A CATALOGYE^'—conhnned 



ROMAN (Case 10) 





(2-form 




b-form 


LETTER 


LINE 


WORD 


LETTER 


LINE 


WORD 


c 


Tit. 2 


Comedies 


C 






H 


Tit. 2 


i/istories 


H 






T 


Tit. 2 


Tragedies 


T 










ROMAN (Case 13) 








«-form 




b-form 


LETTER 


LINE 


WORD 


LETTER 


LINE 


WORD 


A 


Tit. 1 


J 


A 


Tit. 1 


Catalogve 


c 






C 


Tit. 1 


Catalogve 


E 






E 


Tit. 1 


Catalogve 


G 


Tit. 1 


Catalogve 


G 






L 






L 


Tit. 1 


Catalogve 





Tit. 1 


Catalogve 









T 






T 


Tit. 1 


Catalogve 


V 






V 


Tit. 1 


Catalogve 



Letters Taken from Other Sources to Supplement the Alphabets 
and the Classifiers for "A Catalogve'" 



NO. 


LETTER 


CASE 


FORM 


FROM 




LINE 


WORD 


1 


h 


9 


b 


P. A. 


Tit. 


5 


the 


2 


1 


' 9 


a 


P. A. 


Tit. 


5 


a/1 


3 


m 


9 


b 


P. A. 


Tit. 


2 


Comedies 


4 


n 


9 


a 


P. A. 


Tit. 


5 


Pri^cipall 


5 


S 


8 


a 


Dig. 


Tit. 


3 


Shakespeare 


6 


c 


7 


b 


P. A. 


Tit. 


3 


according 


7 


g 


7 


b 


P. A. 


Tit. 


3 


Tragedies 


8 


1 


7 


b 


P. A. 


Tit. 


3 


Truely 


9 


m 


7 


b 


I. M. 


Tit. 


1 


memorie 


10 


A 


2 


b 


Pro. 




17 


And 


11 


B 


2 


a 


Pro. 




12 


5arke 


12 


G 


2 


b 


Pro. 




21 


Greeke 


13 


I 


2 


a 


Pro. 




1 


/les 


14 


N 


2 


b 


Pro. 




31 


Now 


15 





2 


a 


Pro. 




2 


Orgillous 


16 


R 


2 


b 


I. M. 




8 


Re-entrance 


17 


S 


2 


b 


Pro. 




5 


Sixty 


18 


V 


2 


b 


Dig. 




19 


Volumes 


19 


b 


1 


b 


Pro. 




15 


braue 


20 


k 


1 


b 


Pro. 




8 


ransacke 


21 


X 


1 


a 


Pro. 




15 


six-gated 


22 


ft 


1 


ba 


Pro. 




28 


fifarting 


23 


o 


9 


b 


P. A. 


Tit. 


2 


Comedies 


24 


s 


9 


b 


P. A. 


Tit. 


2 


Comedies 


25 


t 


9 


a 


Dig. 


Tit. 


2 


the 


26 


h 


7 


b 


P. A. 


Tit. 


6 


these 


27 


s 


7 


b 


P. A. 


Tit. 


3 


Playes 


28 


t 


7 


b 


P. A. 


Tit. 


3 


set 


29 


T 


8 


b 


I. M. 


Tit. 


1 


To 



1 The numbers in the first cokimn correspond to the numbers accompanying the letters in question in the 
Alphabets and in the Classifiers. 



TYPICAL LETTERS IN "THE PROLOGUE" 





ITALIC (Case 1) 
<2-form 


b-form 


LETTER 


LINE 


WORD 


LETTER 


LINE 


WORD 


a 

b 


12 
24 


Barke 


a 
b 


6 
15 


Regall 
braue 


C 


2 


Princes 


c 


23 


confidence 


d 


9 


rauishV 


d 


10 


and 


e 

f 


25 
3 


lik^ 
o/ 


e 
f 


14 
6 


yet 
from 


g 
h 


2 
4 


Orgillous 

t/ze 


g 
h 


28 
4 


Beginning 
with 


i 


20 


tickh'ng 


i 


4 


with 


k 


14 


Gree/^es 


k 


8 


ransacke 


1 


26 


Beho/ders 


1 


23 


Prologue 


m 


4 


ministers 


m 


6 


from 


n 


10 


wanton 


n 


13 


now 


o 


8 


whose 


o 


6 


Crownets 


P 
r 


30 
12 


pleasures 
there 


P 
r 


19 
6 


up 

their 


/ 


14 


vnbruiy^ed 


f 


8 


whole 


s 


6 


Crownet5 


s 


22 


sets 


t 


3 


^he 


t 


24 


Authors 


u 


13 


frawtage 


u 


24 


but 


V 


14 


ynbruised 


V 


24 


voyce 


w 


4 


e^^ith 


w 


12 


deep-drawing 


X 

y 

z 


15 
24 


six-gated 
voyce 


X 

y 

z 


5 

11 
22 


Sixty 

they 

hazard 



90 



TYPICAL LETTERS IN ''THE PROLOGUE' '—continued 



DIGRAPHS (Case 1 continued) 



DIGRAPH 


LINE 


WORD 


DIGRAPH 


LINE 


WORD 


as 


30 


<3J- 


/h 


3 


/hippes 


Ct 


24 


Aftors 


ih 


14 


frefA 


Ct 


I.M. 6 


Arte 


fh 


Dig. 13 


fhall 


Ct 


I. M. 4 


Spectators 


/I 


10 


y^leepes 


Ct 


20 


Expectation 


fP 


18 


Correy^onsiue 


fi 


27 


/z'rstlings 


/P 


20 


/pirits 


/i 


23 


con/idence 


/^ 


27 


firy^lings 


fi 


30 


fmde 


/t 


8 


/trong 


is 


7 


is 


it 


28 


f^arting 


is 


31 


'tis 


ft 


4 


inftruments 


• 

IS 


Dig. 9 


is 


w.y 


Cat. 9R 


Coriolanwj- 


is 


Dig. 3 


is 


UJ 


2 


Orgillouj 


fh 


20 


skitti/A 

ITALIC 


us 

(Case 2) 


Cat. lOR 


Titus 




«-form 




b-form 


LETTER 


LINE 


WORD 


LETTER 


LINE 


WORD 


A 


22 


^nd 


A 


17 


And 


B 


12 


5arke 


B 


26 


Beholders 


C 


6 


Crownets 


C 


Cat. 5L 


Comedy 


D 


13 


Z)ardan 


D 


Cat. 7R 


Death 


E 


20 


Expectation 


E 


LM. 3 


Wee 


F 


4 


/"raught 


F 


1 


From 


G 


1 


Greece 


G 


21 


Greeke 


H 


Dig. 10 


^ere 


H 


1 


Haue 


I 


1 


/les 


I 


25 


In 


L 


27 


Zeapes 


L 


30 


Like 


N 


20 


TVow 


N 


31 


Now 





2 


Orgillous 





5 


Of 


P 


7 


Phrygia 


P 


7 


Put 


Q 


9 


^ueene 


Q 


10 


Ouarrell 


R 


6 


i^egall 


R 


LM. 8 


Re-entrance 


S 


1 


Scene 


s 


5 


Sixty 


T 


2 


The 


T 


15 


Their 


W 


10 


With 


W 


5 


Warre 



91 



TYPICAL LETTERS IN "THE PROLOGUE' '—continued 



-form 



ROMAN (Case 5) 



b-form 



LETTER 


LINE 


WORD 


LETTER 




LINE 


WORD 


a 


16 


Chetfls 


a 




16 


Helias 


b 


16 


Timi^ria 


b 








d 


16 


Dartfan 


d 




17 


Antenonidus 


e 


16 


Troi(?n 


e 




11 


Tenedos 


h 


16 


CAetas 


h 


Dig. 


9 


Shakespeares 


i 


16 


Hek'as 


i 




16 


Timbria 


1 


16 


He/ias 


1 


Dig. 


16 


Juliet 


m 


16 


Timbria 


m 








n 


9 


Helen 


n 




9 


Menelaus 


o 


11 


Antenonidus 


O 


Dig. 


18 


Romans 


r 


16 


Timbna 


r 




10 


Paris 


s 


10 


Parii- 


s 




16 


Chetas 


t 


16 


Chei!as 


t 


Dig. 


4 


Stratford 


u 


9 


Menelaws 

ROMAN 


u 

(Case 6) 




17 


Antenonidus 




fl-form 






b-form 


LETTER 


LINE 


WORD 


LETTER 




LINE 


WORD 


A 






A 




17 


Antenonidus 


C 


16 


Chetas 


c 




. , 




D 


16 


Dardan 


D 




, , 




H 






H 




16 


Helias 


M 


9 


Afenelaus 


M 




, , 




P 


10 


Paris 


P 




, , 




T 


16 


rimbria 


T 




16 


Troien 



92 



TYPICAL LETTERS IN "THE FROLOGVE''— continued 



ROMAN (Case 11) 



LETTER 



e 

g 
h 

1 

o 
r 
u 



-form 



LINE 

Title 
Title 
Title 
Title 
Title 
P. A. Tit. 1 
Title 



WORD 

Prologue" 

Prologue 

TAe 

Pro/ogue 

Prologue 

Shakespeare 

Prologue 



b-form 



LETTER 

e 

g 

h 

1 
o 
r 



LINE 

Title 



Title 
Title 



WORD 

The 



P. A. Tit. 1 Shakespeare 



Prologue 
Prologue 



a-form 

LETTER LINE WORD 

P Title Prologue 

T Title The 



ROMAN (Case 12) 

LETTER 
P 

T 



b-form 

LINE WORD 



Letters Taken from Other Sources to Supplement the Alphabets 
and the Classifiers for "The Prologue"^ 



NO. 


LETTER 


CASE 


FORM 


FROM 


LINE 


WORD 


1 


c 


2 


b 


Cat. 


5L 


Comedy 


2 


D 


2 


b 


Cat. 


7R 


Death 


3 


E 


2 


b 


I. M. 


1 


Wee 


4 


H 


2 


a 


Dig. 


10 


i/ere 


5 


R 


2 


b 


T. M. 


8 


Re-entrance 


6 


ct 




ab 


I. M. 


6 


Arte 


7 


ct 




ba 


I. M. 


4 


Spectators 


8 


is 




ba 


Dig. 


9 


is 


9 


is 




bb 


Dig. 


3 


is 


10 


fh 




bb 


Dig. 


13 


fhall 


11 


us 




aa 


Cat. 


9R 


Cono\a.nus 


12 


us 




bb 


Cat. 


lOR 


Titus 


14 


h 




b 


Dig. 


9 


Shakespeares 


16 


o 




b 


Dig. 


18 


Romans 


17 


t 




b 


Dig. 


4 


Stratford 


18 


h 


11 


b 


P. A. 


Tit. 1 


Shakespeare 


19 


r 


11 


a 


P. A. 


Tit. 1 


Shakespeare 



1 The numbers in the first column correspond to the numbers accompanying the letters in question in the 
Alphabets and in the Classifiers. 



94 



TYPICAL LETTERS IN "PRINCIPALL ACTORS" 







ITALIC (Case 2^ 








a-fo] 


rm 




b-form. 


ETTER 


LINE 


WORD 


LETTER 


LINE 


WORD 


A 


Tit. 4 


Origin.:/ll 


A 


Dig. 11 


Age 


G 


Tit. 4 


Originall 


G 


Pro. 21 


Greeke 


I 


Tit. 4 


Or/ginall 


I 


Pro. 1 


lies (reversed)^ 


L 


Pro. 30 


Zitce (reversed)' 


L 


Tit. 4 


Originall 


N 


Tit. 4 


Origia'all 


N 


Pro. 31 


Now 





Pro. 2 


Orgillous 





Tit. 4 


Originall 


R 


Tit. 4 


0/?IGINALL 


R 


I.M. 8 


Re-entrance 



'The word "(reversed)" indicates that in the source from which the letter was taicen a reversal of the 
forms of the two Alphabets is found to exist. For a fuller explanation of "reversal" see "Hints to the Decipherer 
of the Greatest Work of Sir Francis Bacon," p. 15. 



ITALIC (Case 3) 



<3-form 



b-form 



letter 


LINE 


WORD 


LETTER 


line 


WORD 


a 


12R 


Shancke 


a 


IR 


Samuel 


b 


2L 


Bur^adge 


b 


2R 


Robert 


c 


IIR 


Richard 


c 


12R 


Shancke 


d 


9R 


BenfieW 


d 


2L 


Richard 


e 


12L 


Samud 


e 


5R 


Underwood 


g 


2L 


Burbadge 


g 


7L 


George 


h 


lOL 


RicAard 


h 


SR 


John 


i 


lOL 


Rzchard 


i 


2L 


Richard 


k 


IL 


Sha/^espeare 


k 


13L 


Cooke 


1 


6R 


Nicho/as 


1 


lOL 


Cowly 


m 


IL 


William 


m 


7R 


William 


n 


4L 


Augustine 


n 


4R 


Nathan 


o 


9R 


Robert 


o 


6R 


Nicholas 


P 


8R 


Jose_ph. 


P 


5L 


Kempt 


r 


9R 


Robert 


r 


2L 


Burbadge 


/ 


IIR 


Robinyon 


/ 


SR 


Jofeph 


s 


3L 


Hemmingi- 


s 






t 


5L 


Kemp^ 


t 


4R 


Nathan 


u 


IR 


Samz^el 


u 


2L 


Burbadge 


w 


IIL 


Lozi'ine 


X 


13L 


Alexander 


y 


7L 


Bryan 


y 


9L 


Slye 



as 



TYPICAL LETTERS IN "PRINCIPALL ACTORS''— continued 



DIGRAPHS (Case 3 continued) 



DIGRAPH LINE WORD 

as 6L Thom<25 

as 6R Nicholas 

fi 9R Benfzeld 

yp IL Shakeypeare 



DIGRAPH 



ff 

ft 

A 
ft 



LINE 

12L 
7R 
4L 
3R 



WORD 



Croffe 
Eccleytone 
Auguytine 
Oftler 



ITALIC (Case 4) 



LETTER 
A 
B 
C 

E 
F 
G 
H 
I 
. K 
L 
N 
O 
P 
R 
S 
T 
U 
W 



(2-form 

LINE 

2R 

2L 
lOL 



3L 
3L 



3R 
6L 
2R 
12R 
6R 
5R 
9L 



WORD 

y^rmin 

5urbadge 

Cowly 



4R i^ield 



//emmings 
John 



IIL Zowine 



Ostler 

Poope 

i^obert 

Shancke 

rooley 

Underwood 

/Filliam 



b-form 



LINE 



LETTER 

A 
B 

c 

E 

F 

G 

H 

I 

K 

L 

N 

O 

P 

R 

S 

T 

U 

W L M. Tit. 1 



7L 
8L 
7R 

lOR 
8L 
IL 
5L 



2L 
IL 
8R 



WORD 



Bryan 

Condell 

Ecclestone 



Goughe 
Henry 
William 
Kempt 



4R Nathan 



Richard 

Shakespeare 

Taylor 



W 



96 



TYPICAL LETTERS IN "PRINCIPALL ACTORS''— continued 



<3-form 



LETTER 



a 

C 
d 

e 

f 

g 
h 

i 

1 

n 

o 

r 

/. 
s 
t 
u 

y 



LINE 
Tit. 6 

Tit. 3 
Tit. 3 
Tit. 3 
Tit. 3 
Cat. Tit. 3 
Tit. 3 
Tit. 3 
Tit. 6 
Tit. 3 
Tit. 3 
Tit. 3 
Tit. 3 
Tit. 3 
Tit. 3 
Tit. 3 
Tit. 6 



ROMAN (Case 7) 
WORD LETTER 

a 

C 
d 

e 
f 



Playes 

according 

Traget/ies 

Truifly 

/orth 

-gedies 

fortA 

Traged/es 

P/ayes 

according 

according 

first 

/et 

Tragedies 

^heir 

Trwely 

Playes 



g 
h 

i 

1 

n 

o 

r 

/ 
s 

t 

u 

y 



b-form 

LINE WORD 



Tit. 3 
Tit. 3 
Tit. 6 



Tit. 
Tit. 
Tit. 
Tit. 
Tit. 
Tit. 



Tit. 3 

Tit. 3 
Tit. 3 



according 
according 
these 



according 

these 

according 

Truely 

in 

to 

Tragedies 



Playes 
set 



DIGRAPHS 



DIGRAPH 

/i 



LINE 

Tit. 3 



WORD 

/irst 



DIGRAPH 



ft 



LINE WORD 

Tit. 3 fir/if 



LETTER 
P 

T 



a- 



■form 



LINE 

Tit. 6 
Tit. 3 



ROMAN (Case 8) 

WORD LETTER 

Playes P 

Truely T 



b-form 

LINE WORD 



97 



TYPICAL LETTERS IN "PRINCIPALL ACTORS'^—continued 



ROMAN (Case 9) 



-form 



b-form 



LETTER 



a 
c 

d 

e 

f 

g 
h 

i 

1 

m 

n 

o 

P 
r 

s 

t 



LINE 

Tit. 2 
Dig. Tit. 2 
Tit. 2 
Tit. 2 
Tit. 5 

Tit. 2 
Tit. 2 

Tit. 2 
Tit. 5 
Tit. 2 
Tit. 5 
Tit. 2 
Tit. 5 
Dig. Tit. 2 



WORD 

all 

deceased 

and 

Histories 

of 

his 
his 



Comedies 

Priwcipall 

containing 

Principall 

Histories 

Actors 

^he 



LETTER 

a 

C 
d 

e 
f 



g 
h 

i 

1 

m 

n 

o 

P 
r 

s 

t 



LINE 

Tit. 2 
Tit. 2 
Tit. 2 

Tit. 5 

Tit. 2 
Tit. 5 
Tit. 2 
Tit. 2 
Tit. 5 
Tit. 2 
Tit. 2 



Cat. Tit. 2 
Tit. 2 
Tit. 5 



WORD 

and 

containing 
Coin.edies 
Nam.es 



containing 
the 

Histories 
all 

Names 

and 

Comedies 



Histories 
Histories 
the 



DIGRAPHS 



DIGRAPH 

Ct 



LINE 

Tit. 5 



WORD 

Actors 



DIGRAPH 
it 



LINE 
Tit. 2 



WORD 

Hiftories 



<3-form 



LETTER 


LINE 


WORD 


A 


Tit. 5 


vectors 


C 


Tit. 2 


Comedies 


H 


Tit. 2 


i7istories 


N 


Tit. 5 


Aames 


P 






T 


Tit. 5 


The 



ROMAN (Case 10) 

LETTER 
A 

c 

H 

N 
P 
T 



b-form 

LINE WORD 



Tit. 5 Principall 



98 



TYPICAL LETTERS IN "PRINGIPALL ACTORS— continued 



ROMAN (Case 11) 



-form 



b-form. 



LETTER 


LINE 


WORD 


LETTER 


LINE 


WORD 


a 


Tit. 1 


Shakespeare 


a 


Tit. 


1 


Shakespeare 


e 


Tit. 1 


Th^ 


e 


Tit. 


1 


Shakespeare 


f 


Tit. 1 


of 


f 








h 


Tit. 1 


The 


h 


Tit. 


1 


Shakespeare 


i 


Tit. 1 


Wzlliam 


i 


Tit. 


1 


William 


k 


Tit. 1 


Wor/^es 


k 


Tit. 


1 


Shakespeare 


1 


Tit. 1 


Wi/liam 


1 








m 


Tit. 1 


William 


m 








o 


Tit. 1 


Workes 


o 


Tit. 


1 


of 


P 






P 


Tit. 


1 


Shakespeare 


r 


Tit. 1 


Shakespeare 


r 


Tit. 


1 


Workes 


/ 


Tit. 1 


Shake/peare 


f 








s 


Tit. 1 


Workei" 

ROMAN 


s 

(Case 12) 










fl-form 






b-form 


LETTER- 


LINE 


WORD 


LETTER 


LINE 


WORD 


s 


Tit. 1 


Shakespeare 


S 








T 


Tit. 1 


The 


T 




' 




W 


Tit. 1 


/Forkes 


W 


Tit. 


1 


William 



99 



Letters Taken from Other Sources to Supplement the Alphabets 
and the Classifiers for "Principall Actors" ^ 



NO. 


LETTER 


CASE 


FORM 


FROM 




LINE 


WORD 


1 


r 


9 


b 


Cat. 


Tit. 


2 


Histories 


2 


t 


9 


a 


Dig. 


Tit. 


2 


^he 


3 


g 


7 


a 


Cat. 


Tit. 


3 


-ged'ies 


4 


W 


4 


b 


I. M. 




Title 


W 


5 


A 


2 


b 


Dig. 




11 


Age 


6 


G 


2 


b 


Pro. 




21 


Greeke 


7 


I 


2 


b 


Pro. 




1 


lies (reversed)^ 


8 


L 


2 


a 


Pro. 




30 


Like (reversed) 


9 


N 


2 


b 


Pro. 




31 


Now 


10 





2 


a 


Pro. 




2 


Orgillous 


11 


R 


2 


b 


I. M. 




8 


Re-entrance 



12 c 9 a Dig. Tit. 2 deceased 

1 The numbers in the first column correspond to the numbers accompanying the letters in question in the 
Alphabets and in the Classifiers. 

- The word "(reversed)" indicates that in the source from which the letter was taken a reversal of the 
forms of the two Alphabets is found to exist. For a fuller explanation of "reversal" see "Hints to the Decipherer 
of the Greatest Work of Sir Francis Bacon," p. 15. 



100 




LIBRARY OF CONGRESS 



014 106 925 1 $ 



RIVERSANK PRESS 



